|
Duan Weiguo Contemporary Art Exhibition ｜ Take The
[2024-10-23 18:13:56]
【上苑展訊】攝心
Take The Heart
段維國當(dāng)代藝術(shù)展
Duan Weiguo Contemporary Art Exhibition
參展藝術(shù)家：段維國
Exhibiting artist: Duan Weiguo
展覽作品形式：雕塑，水墨
Exhibition forms: Sculpture, Ink Painting
藝術(shù)顧問：盛楊
Art Consultant: Yang Sheng
學(xué)術(shù)主持：朱尚熹
Academic host: Zhu Shangxi
策展人：湯軍，王曉燕，李念奴
Curators: Tang Jun,Wang Xiaoyan,Li Niannu
主辦單位Organizer：
上苑藝術(shù)館Shangyuan Art Museum
協(xié)辦單位Co organizer：
北京油畫雕塑促進(jìn)會，雕塑頭條，綠皮車沙龍，云上川（唐山）文化傳媒有限公司，云上川唐山影視基地，F(xiàn)ront前研，非藝術(shù)，超結(jié)構(gòu)主義藝術(shù)工場
Beijing Oil Painting and Sculpture Promotion Association, Sculpture Headlines, Green Car Salon, Yunshangchuan(Tangshan) Cultural Media Co., Ltd, Yunshangchuan Tangshan Film and Television Base,Front, Non-Art, Surstructuralism Art Workshop
海報設(shè)計：王曉燕
Poster design: Xiaoyan Wang
開幕時間：2024年10月25日下午3點半
Opening time: 3:30 pm on Oct. 25th, 2024
展覽時間：2024年10月25日-28日
Exhibition time: October 25-28, 2024
展覽地點：上苑藝術(shù)館圖書館一層（北京懷柔區(qū)沙峪口村委會東150米，沙峪口藝術(shù)廣場對面）
Exhibition location:First floor of libraryat Shangyuan Art Museum (150m east of Shayukou Village Committee in Huairou District, Beijing, opposite Shayukou Art Square)
前言 Preface：
攝心之段The segment that takes theheart
儒樂：隱現(xiàn)段線 Confucian music: Segment-Line appear indistinctly
《文王操》，鋁合金鑄造，120x126x68cm，2012-2013
"King WenPlay", aluminum alloy casting
段維國為自己的上苑藝術(shù)展帶來了雕塑、水墨等作品十多件。此次展覽既是一次攝心之旅，又是對其藝術(shù)語言的觀摩。攝心意為：控制心志，收斂心神。觀其雕塑《文王操》以空靈的文王形象配以實在的古琴，從虛實角度對“文王操”這一儒家音樂主題做了解讀。看到雕塑《文王操》，就仿佛聽到一段段琴聲從遠(yuǎn)古飄來。空間虛與實、時間遠(yuǎn)與近、歷史真與假，都在雕塑上凝結(jié)著，分析著。
Duan Weiguo brought more than ten sculptures, ink paintings and other works to his Shangyuan Art Exhibition. This exhibition is both atake-heart journey and an observation of its artistic language.Take-heart means controling the heart and restrain it. The sculpture "King WenPlay" interprets the Confucian music theme of "King WenPlay" from the perspective of reality and virtuality, with the ethereal image of King Wen paired with a realinstrument. Seeing the sculpture ’King Wen Cao’ is like hearing the sound of ainstrument drifting from ancient times. The emptiness and reality of space, the distance and proximity of time, and the truth and falsehood of history are all condensed and analyzed in sculpture.
《文王操》局部
Part of"King WenPlay"
若仔細(xì)觀察此作，在雕塑空間內(nèi)壁上可見一段段手痕形成的線，即“段線”。段線在此出現(xiàn)，似是無意之舉，實為藝術(shù)家潛意識的展現(xiàn)。此處本在雕塑之內(nèi)，卻因作品本身的開敞姿態(tài)而變得顯見。于是，段線隱現(xiàn)了。它不僅是塑造“文王”內(nèi)在性格的有力支撐，還是藝術(shù)家的獨特語言。段線還將在其它作品中不斷涌現(xiàn)，漸成大觀。
If you observe this work carefully, you can see lines formed by hand marks on the inner wall of the sculpture space, which are called "segment-lines". The appearance of the line here seems to be an unintentional act, but it is actually a manifestation of the artist’s subconscious. This place was originally within the sculpture, but became apparent due to the open posture of the work itself. So, the segment-lines appeared. It is not only a powerful support for shaping the inner character of the "KingWen", but also a unique language for artists. Segments-line will continue to emerge in other works, gradually becoming a grand spectacle.
道門：段面鋪陳 Door ofTaoism: arranging Segment-Surface
《神人暢》，玻璃鋼鑄造，120x126x68cm，2012-2013
"Happy Immortal",fiberglass casting
道家主張自然而為，無為而無不為。與“逍遙游”的鯤鵬相比，雕塑《神人暢》里的神人更接近普通人，也意味著普通人的逍遙。在這里，段線再次出現(xiàn)。那些流暢的段線與造型，正表達(dá)出逍遙快樂與精神自由。并且，段線還組成了“段面”，即神人身上如橫斷山脈般的衣褶，從而服務(wù)于人物塑造。其實，段面本身可獨立形成語言，即段線的構(gòu)成。
Taoism advocates for doing things naturally and doing nothingwith doing anything. Compared tomythicalanimals named"Kunpeng" in "The Untrammeled Traveling", theimmortal in the sculpture "Happy Immortal" is closer to an ordinary person and implies the carefree nature of ordinary people. Here, thesegment-line appears again. Those smoothsegment-lines and shapes express carefree happiness and spiritual freedom. Moreover, thesegment-lines also form the "segment-surface", which refers to the folds of clothing on theimmortal thatlike the mountain range, thus serving the character shaping. In fact, segment-lines themselves can independently form language, that is, the composition of segment-lines.
《鐘馗》，玻璃鋼鑄造，2023
"Zhongkui",fiberglass casting
雕塑《鐘馗》是另一件段面之作。在鐘馗的軀體上，可見簡潔的段線勾勒出大塊段面，使得鐘馗呈現(xiàn)出雄拙之氣。他手持的利劍上也是分出了段面，有些類似“神人”的衣褶。而從鐘馗頭部可看到，段線與段面變得復(fù)雜起來。這使得其頭部與身軀之間形成繁簡對比、平凸互文，從而凸顯出“段語言”（段線與段面）的個性特征。
The sculpture ’Zhongkui’ is another piece of composition. On Zhongkui’s body, simple segment-lines outline large sections, giving him a majestic and clumsy aura. The sharp sword he held also had segment-surfaces on it, what resemblingthe folds of clothing on the"immortal". From Zhongkui’s head, it can be seen that the segment-lines and segment-surfaces have become more complex. This creates a contrast of complexity and simplicity between the head and body, highlighting the individual characteristics of "segment-language" (segment-lines and segment-surfaces) through a flat and convex intertextuality.
《須陀洹-1》，紙本水墨，120x126x68cm，2024
"Sotapanna-1"，chinese ink on paper
《須陀洹-2》，紙本水墨，120x126x68cm，2024
"Sotapanna-2"，chinese ink on paper
《南風(fēng)》，紙本水墨，2022-2023
"Southern Wind"，chinese ink on paper
在水墨作品《南風(fēng)》中，藝術(shù)家對傳統(tǒng)水墨及其皴法的突破，正在于段線與段面的充分運(yùn)用。不規(guī)則的線條穿行在明暗塊面間，正如藝術(shù)家對于攝心的探索。段線變得封閉，不再如“文王”體內(nèi)那般張揚(yáng)。
In the ink painting work "South Wind", the artist’s breakthrough in traditional ink painting and its texturing techniques lies in the full use of segment-lines and segment-surfaces. Irregular lines run between the light and dark blocks, just like an artist’s exploration of take-heart. The segment-line becomes closed, no longer as prominent as inside the "King Wen" ’s body.
段面基于段線的規(guī)范，卻在墨色助力下變得極不規(guī)則。那些東騁西馳的段面排列組合，營造出隨機(jī)的美感與張揚(yáng)，水墨的質(zhì)感也得以靠段面呈現(xiàn)。由于水墨終歸只是二維，所以段面能夠在墨分五色與線條的抑揚(yáng)頓挫間持續(xù)生成、轉(zhuǎn)化，造就出新的水墨抽象。
The segment-surface is based on the specification of segment-lines, but with the help of ink, it becomes extremely irregular. The arrangement and combination of those flowing segment-surfaces create a random beauty and grandeur, and the texture of ink can also be presented through the segment-surfaces. Since ink painting is ultimately only two-dimensional, segment-surfaces can continuously generate and transform between the five colors of ink and the ups and downs of lines, creating new ink abstractions.
《廣陵散》，青銅鑄造，68x26x28cm，2012-2013
"Guangling Play", bronze casting
更可關(guān)注的是，段線與段面在水墨和雕塑上呈現(xiàn)出同樣的形態(tài)。這也就充分說明了段線與段面的合理價值。從青銅雕塑《廣陵散》上可看到，“文王”體內(nèi)那些段線化作了“嵇康”的猶如南風(fēng)一樣的段面，而將嵇康的醉狂之態(tài)表現(xiàn)得淋漓盡致，達(dá)到人琴合一。
What is more noteworthy is that the segment-lines and segment-surfaces present the same form in ink painting and sculpture. This fully demonstrates the reasonable value of segment-lines and segment-surfaces. From the bronze sculpture "Guangling Play", it can be seen that the segment-lines inside "King Wen" have transformed into the segment-surfaces of "Ji Kang" like "Southern Wind", fully expressing Ji Kang’s drunken madness and achieving the unity of man andinstrument.
佛空：段體的生成 Buddha’s Void: The Generation of Segment-Body
《歡喜-1》，玻璃鋼鑄造及丙烯，2018-2024
"Joy-1", fiberglass casting and acrylic
《歡喜-2》，玻璃鋼鑄造及丙烯，2018-2024
"Joy-2", fiberglass casting and acrylic
佛門尚空，認(rèn)為色與空同，現(xiàn)實物質(zhì)（色）世界處于永久變化而不定（空）。因此要想追求永恒，就得到現(xiàn)實世界之外去尋找。這與超結(jié)構(gòu)主義對于超結(jié)構(gòu)的追求異曲同工，即超結(jié)構(gòu)體（超體）比起日常時空的事物更具永恒性。
Buddhism pursues emptiness and believes that matter and emptiness are the same. The material world of reality is constantly changing and uncertain. Therefore, in order to pursue eternity, one must seek beyond the real world. This is similar to the pursuit of Surstructuralism for surstructure, that is, surstructure entitys are more eternal than the things in normal time-space.
攝心本是佛語。北魏楊炫之在《洛陽伽藍(lán)記》中說：“沙門之體，必須攝心守道，志在禪誦。”羅漢果位，是具備佛性者修行個業(yè)可達(dá)到的最高成果。段維國的《羅漢》系列即在于表達(dá)空觀。羅漢在禪定時體味空，于默想中屏蔽色。因而“羅漢”的攝心之法體現(xiàn)于姿態(tài)，便是目空一切而內(nèi)定見佛。
Take-heart is originally a Buddhist language. Xuanzhi Yang in the Northern Wei Dynasty said in the "Luoyang Qielan Record" that "the body ofsramana must focus on take-heart and keep the great truth, and aim at Zen chanting." The position of Arhat is the highest achievement that can be achieved by those who have Buddha nature in their personal practice. Duan Weiguo’s "Arhat" series is to express the concept of emptiness. Arhat experienced emptiness in meditation and shielded the material world in meditation. Therefore, "Arhat" ’s method of heart capturing is embodied in posture, that is, to be supercilious andsee Buddha bydetermineing in the heartfirmly.
于是，羅漢的段線不再如“神人”那般流暢，而是頓感十足。其段面也不似“嵇康”那樣起伏多變，而是直接呈現(xiàn)出了“段體”。羅漢的段體于清晰與混沌間，顯示著漸悟之機(jī)。段體呈現(xiàn)緩慢柔和的線條，以及樸素?zé)o華的段面，使雕塑渾然一體，充滿東方神秘主義。
As a result, Arhat’s line is no longer as smooth as the "immortal", but full of the feeling ofsetback. Its segment-surfaces are not as undulating and varied as "Jikang", but directly present a "segment-body". Arhat’s segment-body is between clarity and chaos, showing the opportunity to gradually comprehend. The segment-body presents slow and gentle lines, as well as simple and unadorned segment-surfaces, making it seamlessly integrated and full of eastern mysticism.
《玉樹臨風(fēng)》，玻璃鋼鑄造及丙烯，2023
"Windward Tree of Jade", fiberglass casting and acrylic
段維國的攝心方式之一，便是藝術(shù)。于是他創(chuàng)作了很多有關(guān)儒釋道的雕塑與水墨，如《文王操》、《神人暢》、《廣陵散》、《羅漢》、《南風(fēng)》等，可謂藝接三門。其“段語言”（段線、段面與段體）還處在探索期，即攝心階段。但終將登堂入室，見心明性，立地成佛。
One of Duan Weiguo’s ways of take-heart is through art. So he created a lot of sculptures and ink paintings about Confucianism, Buddhism and Taoism, such as "King Wen Play", "Happy Immortal", "Guangling Play", "Arhat", and "Southern Wind". It can be said thathis art connects threedoors of religioustruth.His "segment language" (segment-line, segment-surface, and segment-body) is still in the exploratory stage, that is, the stage of take-heart. But in the end, he will enter the hall, see the heart and nature, and become a Buddha on the ground of thought.
段維國認(rèn)為，所有藝術(shù)都是藝術(shù)家生命狀態(tài)的展現(xiàn)，有什么狀態(tài)就有什么藝術(shù)。藝術(shù)只要能恰當(dāng)表現(xiàn)藝術(shù)家的精神狀態(tài)、生命境界，并與藝術(shù)家氣質(zhì)相契合，就是好的藝術(shù)。
Mr. Duan believes that all art is a manifestation of the artist’s life state, and there is art in whatever state there is.It’s good art as long as it can appropriately express the artist’s spiritual state and life realm, and is in line with the artist’s temperament.
藝術(shù)并不怎么重要，它只是人生一段旋律，是生命主旋律的副歌，不可能代替或成為生命。所以，重要的是我們由始至終的整個生命過程，以及自己能把握的那一段生命過程。我們?nèi)绾卧谶@個過程中經(jīng)營好生命，如何讓這段生命旋律更優(yōu)美，坦然欣喜，沒有遺憾，這比什么都重要。
Art is not very important, it is just a melody of life, a chorus to the main melody of life, and cannot replace or become life. So, what is important is our entire life process from beginning to end, as well as the part of our life process that we can grasp. We manage life well in this process, making the melody of this life more beautiful, joyful, and without regrets, more important than anything else.
湯軍
Tang Jun
于上苑藝術(shù)館
At Shangyuan Art Museum
2024年10月15日
October 15, 2024
盛楊 Sheng Yang：
我所認(rèn)識的段維國Duan Weiguo I know
段維國是一位很有才能而且非常勤奮的雕塑家。據(jù)我所知，他在疫情困難時期還做了很多雕塑，真是難能可貴。
Duan Weiguo is a talented and hardworking sculptor. As far as I know, he also made many sculptures during the difficult period of the epidemic, which is truly commendable.
遺憾的是這些作品我均未見到，很難評說。但在幾年前我曾應(yīng)邀參觀過他的工作室，給我留下了很深印象。他做了許多佛像以及佛教題材作品。起初我以為他在研究我國古代佛教雕塑，探索模仿唐風(fēng)宋韻之作。但待我注目細(xì)看之后，發(fā)現(xiàn)他所表現(xiàn)的佛像、觀音、菩薩似隱似顯，似有似無，既端莊又和藹，既神圣又慈祥，隱隱約約散發(fā)一種虛幻的靈性，令我沉浸在禪悟的虔誠之中。
Unfortunately, I have not seen any of these works and it is difficult to comment on them. But a few years ago, I was invited to visit his studio, which left a deep impression on me. He has created many Buddha statues and Buddhist themed works. At first, I thought he was studying ancient Buddhist sculptures in China, exploring imitations of Tang style and Song rhyme works. But after I looked closely, I found that the Buddha statues, Guanyin, and Bodhisattvas he portrayed were both hidden and visible, both tangible and intangible, both dignified and kind, both sacred and benevolent, emitting a kind of illusory spirituality that immersed me in the devout meditation.
我看過很多佛像復(fù)制臨摹作品，也看過一些新建或修復(fù)廟宇里的佛像。很多佛像做得相當(dāng)?shù)轿唬偢杏X缺點靈性和佛性。
I have seen many replicas of Buddha statues, as well as some Buddha statues in newly built or restored temples. Many Buddha statues are done quite well, but I always feel that they lack spirituality and Buddha nature.
段維國做佛像并不停留在摹仿上。他對佛學(xué)很有研究，也是一個崇尚佛家思想的悟道者。所以他的作品有佛性，有靈性。可見但凡一個藝術(shù)家你想表現(xiàn)什么，你得下功夫去研究和理解，才會有感情，有激情，才能創(chuàng)造出好作品。
Duan Weiguo did not stop at imitating Buddha statues. He has a deep understanding of Buddhism and is also a practitioner of Buddhist philosophy. So his works have Buddha nature and spirituality. It can be seen that any artist who wants to express something needs to put in effort to study and understand it in order to have emotions, passion, and create good works.
在他的工作室另一角有件作品，我還沒看清楚是什么內(nèi)容，但它整體造型的悲壯氣勢強(qiáng)烈地吸引我。當(dāng)我走近細(xì)看，原來是一位風(fēng)卷殘鬢、揮臂顫指地?fù)舸蚯傧业睦先耍@更加扣住了我的心弦。作者說，這是表現(xiàn)竹林七賢……他的話未說完，我就想到，啊！這是嵇康，他在臨刑前悲憤交加地索琴彈奏了千古絕唱《廣陵散》。這件作品充分表現(xiàn)了嵇康的堅強(qiáng)孤傲，正直坦蕩的文人志士風(fēng)骨。看得出作者對嵇康是理解的，敬仰的，深有情感的，否則做不出這么動人的作品。在這件作品中，作者在藝術(shù)處理上首先抓住了主題所需的基本氣勢，在大形上造成悲壯的抽象性基調(diào)，給觀眾以強(qiáng)烈感染。又在細(xì)節(jié)中抓住重點，精心刻畫，從而引人入勝，耐人尋味，發(fā)人深思。整體與細(xì)部有機(jī)組合得很完好。工作室還有很多作品都是佳作，如作品《瘦馬》令人感到孤獨與沉寂，聯(lián)想到斷腸人在天涯。
In another corner of his studio, there is a piece of work that I haven’t seen clearly, but its overall tragic and imposing design strongly attracts me. When I approached and looked closely, it turned out to be an old man with twisted temples and trembling fingers waving his arms to strike the strings, which further gripped my heartstrings. The author said that this is a portrayal of the Seven Sages of the Bamboo Grove... Before he could finish his words, I thought, Ah! This is Ji Kang, who played the timeless masterpiece"GuanglingPlay" on the qin with a mixture of grief and anger before his execution. This work fully demonstrates Ji Kang’s strong and proud character, as well as his upright and straightforward literati and ambitious spirit. It can be seen that the author understands, admires, and has deep emotions towards Ji Kang. Otherwise, such a moving work would not have been possible. In this work, the author first takes the basic momentum required by the theme in artistic processing, creating a tragic and abstract tone in the grand form, and strongly infecting the audience. Grasping the key points in the details and meticulously depicting them, thus captivating, and thought-provoking. The overall and detailed organic combination is very well done. There are many works in the studio that are excellent, such as the work ’Thin Horse’ which makes people feel lonely and silent, reminiscent of the heartbroken man at the ends of the earth.
段維國很勤奮，經(jīng)常住在工作室。工作室放了很多雕塑臺。他同時做幾件作品，什么靈感來了就抓起泥巴做什么。有時半夜興致大發(fā)，從床上爬起，披上衣服就工作，叮叮當(dāng)當(dāng)?shù)模柈?dāng)頭了也不停歇。他的創(chuàng)作熱情與勤奮精神十分可敬。
Duan Weiguo is very diligent and often lives in the studio. The studio has installed many sculpture platforms. He works on several projects at the same time, and whenever inspiration comes, he picks up mud to make something. Sometimes in the middle of the night, he get up from bed, put on my clothes, and work without stopping even when the sun is above his head. His creative passion and diligent spirit are highly admirable.
段維國簡歷 Resume of Duan Weiguo
中國美術(shù)家協(xié)會會員，中國雕塑學(xué)會會員，中國民族建筑研究會學(xué)術(shù)委員
河北美術(shù)家協(xié)會雕塑藝委會副主任，河北畫院雕塑院研究員
中高級環(huán)境藝術(shù)師，獲城市雕塑設(shè)計資格證書
1984年畢業(yè)于河北工藝美術(shù)學(xué)校雕塑專業(yè)
Member of China Artists Association, Member of China Sculpture Society, Academic Committee Member of China National Architecture Research Association
Deputy Director of the Sculpture Art Committee of Hebei Artists Association, Researcher at the Sculpture Institute of Hebei Academy of Painting
Senior environmental artist, awarded the qualification certificate for urban sculpture design
Graduated from Hebei Arts and Crafts School with a major in Sculpture in 1984
2004年，在北京創(chuàng)建雕塑工作室
2021年，《聚能》入選中國第四屆抽象雕塑展及第十二屆中國宋莊藝術(shù)節(jié)雕塑邀請展
2019年，《黃河水》入選中國萬榮黃河文化國際雕塑大展
2018年，《追夢》入選中國民勤沙漠雕塑國際創(chuàng)作營
2017年，《等爸爸回家》入選參加建軍90周年全國美展 暨十三屆全軍美術(shù)作品展，《出塞賦》入選參加2017絲綢之路藝術(shù)節(jié)雕塑作品邀請展，《墨香》入選參加設(shè)計中國第三屆中國當(dāng)代陶瓷設(shè)計大賽獲入圍獎
2016年，《心相》入選參加2016云岡國際佛教雕塑藝術(shù)大展，《紫竹調(diào)》入選參加青島國際雕塑藝術(shù)節(jié)被即墨市政府收藏并永久陳列，《書香墨韻》入選參加第二屆中國當(dāng)代陶瓷藝術(shù)大展
2015年，《初心》參加第二屆中國當(dāng)代佛教藝術(shù)展
2014年，《突擊》 參加第十二屆全國美展雕塑展
2011年，《柔術(shù)系列》參加上上美術(shù)館新歷史新宋莊美術(shù)大展，《共鳴》入選參加“凝固的旋律”國家大劇院雕塑作品邀請展
2004年，《滋潤》入選參加第四屆藍(lán)色空間國際雕塑邀請展
2003年，《滋潤》《太陽傘》入選參加雕塑生命共享空間環(huán)保展作品，《看自己》參加第三屆藍(lán)色空間國際雕塑展獲最佳提名獎
1999年，雕塑方案《探索未來》參加北京城市雕塑方案展
In 2004, established a sculpture studio in Beijing
In 2021, "Energy Gathering" was selected for the 4th China Abstract Sculpture Exhibition and the 12th China Songzhuang Art Festival Sculpture Invitation Exhibition
In 2019, "Yellow River Water" was selected for the China Wanrong Yellow River Culture International Sculpture Exhibition
In 2018, "Chasing Dreams" was selected for the China Minqin Desert Sculpture International Creation Camp
In 2017, "Waiting for Dad to Come Home" was selected to participate in the National Art Exhibition for the 90th Anniversary of the Founding of the Army and the 13th Military Art Exhibition. "The Verses of Leaving the Frontier" was selected to participate in the Sculpture Invitation Exhibition of the 2017 Silk Road Art Festival. "Ink Fragrance" was selected to participate in the 3rd China Contemporary Ceramic Design Competition and won a nomination award
In 2016, "Heart Appearance" was selected to participate in the 2016 Yungang International Buddhist Sculpture Art Exhibition, "Purple Bamboo Tune" was selected to participate in the Qingdao International Sculpture Art Festival and was collected and permanently displayed by the Jimo Municipal Government, and "Book Fragrance and Ink Charm" was selected to participate in the 2nd China Contemporary Ceramic Art Exhibition
In 2015, "The Initial Thought" participated in the 2nd China Contemporary Buddhist Art Exhibition
In 2014, "Assault" participated in the 12th National Art Exhibition Sculpture Exhibition
In 2011, "Jujutsu Series" participated in the New History and New Songzhuang Art Exhibition at the Shangshang Art Museum, and "Resonance" was selected to participate in the "Solidified Melody" National Grand Theatre Sculpture Invitation Exhibition
In 2004, "Nourishing" was selected to participate in the 4th Blue Space International Sculpture Invitation Exhibition
In 2003, "Nourishing" and "Parasol" were selected to participate in the Sculpture Life Sharing Space Environmental Protection Exhibition, and "Looking at Myself" was nominated for the Best Award at the 3rd Blue Space International Sculpture Exhibition
In 1999, the sculpture project "Exploring the Future" participated in the Beijing Urban Sculpture Exhibition
revealed 645 times
|
