Artist Ran Qiquan, born in Da Zhou. Graduated from Sichuan Fine Arts Institute in 1989. He is one of the members of ‘Chinese contemporary Daxiu Art Studio. ‘He was the director of the Beijing Sixth Ring International Art District and is currently the artistic director of the 515 Art in Creation Cave Art District.
艺术家冉启泉。出生于达州，1989年毕业于四川美术学院。“大修中国当代艺术车间”成员，曾任北京六环国际艺术区区长，现为515艺术创窟艺术区艺术总监。
Inspired by the Artist Anselm Kiefer, the creations in the past ten years are composed of two five-year periods into a phased rhythm. In the past five years, Ran Qiquan’s series of Ashes and Paper Blade used media such as burning and charred paper rolls, randomly combined to present charred human figures, books, or bright colors like geographical contours. Thereby initiating the healing of personal traumatic events.
受艺术家安塞姆·基弗的影响，近十年的创作由两个五年构成了一个阶段性的谱系。前五年，冉启泉的灰烬、纸刃系列作品，通过焚烧、焦化纸卷等材料，或密集的纸卷随机组合，呈现出如焦化的人形、书本或在如同地理学等高线般鲜亮的彩色图像，籍此开启对个人创伤事件的疗愈。
In the next five years, based on the experience of the previous stage, through art works all things reveal something of themselves in their nature and form. Rice paper made from plant fibers also marks its own natural attributes. Ran Qiquan cuts, folds, and paint rice paper, then pastes it and squeezes together to randomly form images. Colors form ‘patches’, curving create ‘paths’, and gaps suggest ‘depth’. Therefore, Ran Qiquan achieved the “collectiveassembly of language” in his works.
后五年，在前一阶段的经验上，人类在劫后余生中反思，通过创作情绪图谱作品，开始了“灾后重建”。一切事物，在其性质、形态上都揭示了它们自身的东西。由植物纤维制成的宣纸，同样标记了自身的自然属性。冉启泉把宣纸裁切、褶皱、上色，然后粘贴、挤靠，随机组成偶发图像。色彩构成斑块，曲线生成路径，缝隙提示深度。由此，冉启泉实现了对作品的＂语言的集体装配＂。
At this moment, the viewer is brought into a smooth, tactile, gorgeous and bright picture. The creator starts a dialogue with the viewer, and the meaning of the work is generated and shared with the viewer.
这一刻，观者被带入平滑触感、绚丽鲜亮的画面。创作者与观者展开对话，作品的意义生成并与观者共享。
艺术家冉启泉。出生于达州，1989年毕业于四川美术学院。“大修中国当代艺术车间”成员，曾任北京六环国际艺术区区长，现为515艺术创窟艺术区艺术总监。
Inspired by the Artist Anselm Kiefer, the creations in the past ten years are composed of two five-year periods into a phased rhythm. In the past five years, Ran Qiquan’s series of Ashes and Paper Blade used media such as burning and charred paper rolls, randomly combined to present charred human figures, books, or bright colors like geographical contours. Thereby initiating the healing of personal traumatic events.
受艺术家安塞姆·基弗的影响，近十年的创作由两个五年构成了一个阶段性的谱系。前五年，冉启泉的灰烬、纸刃系列作品，通过焚烧、焦化纸卷等材料，或密集的纸卷随机组合，呈现出如焦化的人形、书本或在如同地理学等高线般鲜亮的彩色图像，籍此开启对个人创伤事件的疗愈。
In the next five years, based on the experience of the previous stage, through art works all things reveal something of themselves in their nature and form. Rice paper made from plant fibers also marks its own natural attributes. Ran Qiquan cuts, folds, and paint rice paper, then pastes it and squeezes together to randomly form images. Colors form ‘patches’, curving create ‘paths’, and gaps suggest ‘depth’. Therefore, Ran Qiquan achieved the “collectiveassembly of language” in his works.
后五年，在前一阶段的经验上，人类在劫后余生中反思，通过创作情绪图谱作品，开始了“灾后重建”。一切事物，在其性质、形态上都揭示了它们自身的东西。由植物纤维制成的宣纸，同样标记了自身的自然属性。冉启泉把宣纸裁切、褶皱、上色，然后粘贴、挤靠，随机组成偶发图像。色彩构成斑块，曲线生成路径，缝隙提示深度。由此，冉启泉实现了对作品的＂语言的集体装配＂。
At this moment, the viewer is brought into a smooth, tactile, gorgeous and bright picture. The creator starts a dialogue with the viewer, and the meaning of the work is generated and shared with the viewer.
这一刻，观者被带入平滑触感、绚丽鲜亮的画面。创作者与观者展开对话，作品的意义生成并与观者共享。
Experience of Ran Qiquan
