The word rhizome, based on the philosophical theory of the French philosopher Deleuze, represents an open, non-centered, irregular, pluralistic form and vitality. In Deleuze's theory, "rhizome" is not just a botanical concept, or even a stereotyped concept, as a "world structure", "rhizome" refers to the state of all integrated things, in a process of continuous "delocalization and re-delocalization".
Under this concept, the "flowers" and "bodies" in Zhu Dan's paintings no longer only refer to plants and people themselves. As a record of Zhu Dan's daily life and feelings at every moment, the process of painting shows the process of consciousness generation, and the action of painting becomes a place for the output of ideas and a stream of desire generation. Waterfall-like flowing colors, short and powerful lines, sudden color spots, and intense color blends appear in the interior and surface of the picture in an unknown but extremely dramatic way, multiplying, deriving, grafting, and producing each other and each other in countless climaxes. The words of garden and tree shadow, starry night and passing year, life cycle and infinite world, etc., which were once fixed by other images, are no longer occupied by the things we know and are established in the images that Zhu Dan paints, which are constantly generated, disintegrated, and regenerated. The unusually rich, but at the same time very different colors and brushstrokes in the painting, are no longer like the veins of a tree growing branches, but rather the branches and leaves are like vines entangled, frolicking, intertwining, resonating, colluding, and then confronting and dueling, becoming an image that never stops moving, connecting and exchanging information without purpose, and then releasing illusions unscrupulously. This is a refresh of the style of painting, with such a complex and varied movement.
For Zhu Dan, "movement" is the dominant nature of his creation, and "kinetic energy" is an important concept, which also includes the rediscovery and reinvention of "kinetic energy". On the one hand, as long as there is "movement", it means that there must be a breakthrough in the solidified boundary: ** movement in time to break through the barrier of time; Move in visible space and enter invisible space; Escape from the fixed image and destroy the identified part. On the other hand, as Zhu Dan's way of working through painting, Zhu Dan's reckless wandering and throwing his "body" into a never-ending process of movement is controlled and driven by a "desiring-machine" full of life and emotions.
Exhibition time: 2023 12 23—2024 01 18
Planner: Han Jiacheng, Wen Xianghua, Bao Yu.
Academic support: Furnishing Art Professional Committee of China Interior Decoration Association.
Exhibition Venue: B03 Common Art Center, 797 Street, 707 Art District, No. 2 Jiuxianqiao Road, Chaoyang District, Beijing.