2025年12月30日下午，藝術(shù)家魏陽(yáng)陽(yáng)個(gè)展《走馬，且觀花——生命的雙向凝視》在壹峰藝術(shù)中心正式開(kāi)幕，本次展覽集中呈現(xiàn)了魏陽(yáng)陽(yáng)近年來(lái)圍繞“花”與“馬”兩組核心意象展開(kāi)的繪畫(huà)創(chuàng)作。展覽在歲末年初這一極具時(shí)間意味的節(jié)點(diǎn)展開(kāi)，吸引了來(lái)自藝術(shù)界、教育界及公眾觀眾到場(chǎng)，在寒冬之中開(kāi)啟了一場(chǎng)關(guān)于生命、觀看與內(nèi)在節(jié)奏的溫柔對(duì)話(huà)。

與許多喧鬧的開(kāi)幕現(xiàn)場(chǎng)不同，《走馬，且觀花》的開(kāi)幕更像一次緩慢展開(kāi)的精神進(jìn)入。觀眾在畫(huà)面前停駐良久，反復(fù)凝視馬的眼睛、花的結(jié)構(gòu)與畫(huà)面細(xì)密的筆觸，空間中彌漫著一種安靜而專(zhuān)注的氣息。

許多觀眾在現(xiàn)場(chǎng)提到，作品帶來(lái)的并非“第一眼的沖擊”，而是一種需要時(shí)間才能逐漸顯現(xiàn)的情緒與感受——這恰恰與展覽主題形成了微妙呼應(yīng)。

魏陽(yáng)陽(yáng)筆下的花，并非傳統(tǒng)意義上的靜物題材。風(fēng)信子、繡球、百合、曼陀羅、蒲公英、仙人掌與蘆薈，在畫(huà)面中呈現(xiàn)出強(qiáng)烈的存在感與個(gè)性。

藝術(shù)家長(zhǎng)期親手培育植物，與它們建立起日常而持續(xù)的觀察關(guān)系。這種經(jīng)驗(yàn)，使花在畫(huà)面中不再只是被描繪的對(duì)象，而更像擁有自身節(jié)奏與性格的“肖像”。它們指向生長(zhǎng)、聚合、防御、綻放與離散，也隱約映射著個(gè)體情感與內(nèi)在狀態(tài)。

如果說(shuō)花指向向內(nèi)的凝視，那么馬則構(gòu)成了作品中另一種重要的精神存在。魏陽(yáng)陽(yáng)刻意回避了速度、力量與征服等傳統(tǒng)敘事，她筆下的馬大多處于靜止?fàn)顟B(tài)：駐足、凝望、沉思。藝術(shù)家反復(fù)描繪馬的眼睛與毛發(fā)，用極其細(xì)膩、近乎執(zhí)著的筆觸，賦予馬一種接近“人”的情緒密度。

這些馬不再是象征性的動(dòng)物形象，而更像當(dāng)代人精神狀態(tài)的投射——在高速運(yùn)轉(zhuǎn)的現(xiàn)實(shí)中，依然渴望停下、思考與自省。

在展覽中，“走馬”與“觀花”并不是兩個(gè)并列主題，而是一種相互生成的關(guān)系：馬成為觀看的主體，花回應(yīng)目光；花構(gòu)成情緒與精神的場(chǎng)域，馬則在其中完成凝視。觀者在空間中不斷切換觀看角度——既跟隨馬的目光進(jìn)入花的世界，又在花的結(jié)構(gòu)與色彩中，重新理解馬所承載的情感與精神維度。

“走馬觀花”這一原本指向匆忙的成語(yǔ)，在此被重新書(shū)寫(xiě)為一種在行進(jìn)中停頓、在流動(dòng)中凝視的觀看方式。

《走馬，且觀花》并不試圖給出明確答案，它更像一次邀請(qǐng)：邀請(qǐng)我們?cè)谛屡f交替的時(shí)間節(jié)點(diǎn)上，暫時(shí)放慢腳步，重新感受觀看的重量。

展覽將持續(xù)至2026年2月28日。在接下來(lái)的時(shí)間里，歡迎你走進(jìn)壹峰藝術(shù)中心，在花與馬的相互凝望中，完成屬于自己的那一次精神“降速”。

IN English

On the afternoon of December 30, 2025, artist Wei Yangyang’s solo exhibitionRiding the Horse, and Pausing to View the Flowers: Life’s Bidirectional Gazeofficially opened at Yifeng Art Center. The exhibition brings together a focused selection of the artist’s recent paintings developed around two central motifs—flowers and horses. Unfolding at the threshold between the end of one year and the beginning of another, the exhibition drew visitors from the art community, the education sector, and the general public, opening a quiet yet resonant dialogue on life, perception, and inner rhythm amid the winter season.

In contrast to the lively atmosphere often associated with exhibition openings, the opening ofRiding the Horse, and Pausing to View the Flowersfelt more like a gradual process of inward arrival. Visitors lingered before the paintings, returning again and again to the horses’eyes, the structures of the flowers, and the dense, meticulous brushwork that animates the surfaces. A sense of calm concentration filled the space. Many viewers noted that the works did not rely on immediate visual impact; instead, emotions and meanings emerged slowly over time—an experience that subtly echoed the exhibition’s central theme.

The flowers in Wei Yangyang’s paintings depart from the conventions of traditional still life. Hyacinths, hydrangeas, lilies, mandalas, dandelions, cacti, and aloe appear with a striking sense of presence and individuality. Through years of hands-on cultivation, the artist has formed an ongoing, intimate relationship with plants, observing their growth, blossoming, and decline as part of everyday life. This sustained engagement allows the flowers in her work to function less as objects of depiction and more as portraits, each possessing its own rhythm and temperament. They gesture toward processes of growth, gathering, protection, blooming, and dispersal, while quietly mirroring emotional states and inner experience.

If the flowers invite an inward gaze, the horses form another essential spiritual presence within the exhibition. Wei Yangyang deliberately distances her work from conventional narratives of speed, power, and conquest. Instead, the horses are most often shown at rest—pausing, gazing, contemplating. Through repeated and careful rendering of the horses’eyes and manes, using brushwork that is both delicate and insistent, the artist imbues them with an emotional density that approaches the human. These horses move beyond symbolic animal imagery, becoming projections of contemporary psychological states: figures that, even within a relentlessly accelerated reality, continue to yearn for stillness, reflection, and self-awareness.

Within the exhibition,“riding the horse” and“viewing the flowers” do not operate as parallel themes, but as a mutually generative relationship. The horse becomes the subject of seeing, while the flowers respond to the gaze; the flowers form an emotional and spiritual field within which the horse completes its act of looking. As viewers move through the space, they continually shift perspectives—following the horse’s gaze into the floral realm, and then, through the structures and colors of the flowers, reencountering the emotional and spiritual dimensions embodied by the horse. In this way, the idiomzouma guanhua, originally associated with haste, is rearticulated as a way of seeing that pauses within movement and attends carefully within flow.

Riding the Horse, and Pausing to View the Flowersdoes not aim to provide definitive answers. Rather, it extends an invitation: at this moment of transition between the old and the new, to slow down, if only briefly, and to rediscover the weight and depth of looking. The exhibition remains on view through February 28, 2026. In the time ahead, visitors are warmly welcomed to Yifeng Art Center to complete their own moment of spiritual“deceleration” amid the mutual gazing of flowers and horses.