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Shao Wenhuan’s work cannot be described simply as photography, painting or mixed media. Using temporality as a key, he looks for a match in the artistic emotional experience and the changes within possibilities. He works in complex, layered processes – grappling, building up and tearing down – threading materials together by a sense of time.One layer of temporality comes from Shao Wenhuan’s three venues of creation: the camera, the dark room, the studio. With the camera, he captures slices of time. The dark room is his laboratory, where he contemplates different media and paves the way for the unexpected. Then he moves into the studio to wield the tool of disruption – painting – on images from the camera.Another lurks between the works, sharing a link with historical Chineseness or displaying opposing temporal understanding. Meanwhile, his recent works show an intensified painterly disruption as well as a more obvious intervention of time. The layering of hundreds of photographs breaks down the medium’s singular picture plane, bringing the interaction between photography and painting into a more wondrous state.


邵文欢作品的时间性,首先来自三种不同而勾连的创作场域:相机(摄影)、暗房(负相)、画室(绘画)。摄影是邵文欢捕捉时间切片的过程,灵感伴随快门的按下而锁定。暗房是邵文欢最谨慎的实验室,也是他思考媒介关系最重要的场所,为绘画阶段的创作预埋下意料之外的伏笔。绘画成为邵文欢“干扰”由摄影构成基础画面的工具,漫长的创作过程为他带来更多的思考空间。另一层时间性隐匿于不同的作品中:有些营造了“中国性”文脉的历史联系;有些则表达了对于时间的两种反向认识。而近期的作品不仅加强了绘画对于摄影媒介的干预,时间的介入也变得愈加直白:通过拼合数百张照片与更漫长的绘画叠加, 打破了作为基础的摄影画面,将摄影和绘画的关系推向一个更微妙的层次。

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