荣格说他的生命在外的事物中异常贫乏，因为空洞又不真实的外部事件无法取代内心体验，他只在内在事件的光亮中认识自己。刘聪是自然的向往看向内观的察觉者。“疲倦的烟火系列 ”画面失控的色彩恰好呼应了画面的情绪，他觉得使得表达更准确。这种准确，准确来说是艺术家即时即地的心理投射，黄昏与窗、朝阳与自然、人与人、人与空间，客观真实的物理空间通过刘聪的视角再观看已经疏离与陌生；“极昼系列”的经验来自jet-lag，物理空间切换与身体生物钟暂时性不协调，身心视觉就有了On off不同时性，身体或者视觉总有淹没在一片亮光或者一片黑暗里，又因长途飞行的的影响身心的不稳定导致的补偿性光亮不稳定，像极光，晃动、恍惚、耀眼、不真实，也像极了这外观的世界。他用炭铅勾勒造型搓擦的“人像系列”一个一个垂目向下，像是某种神秘之力让这些人低垂，像菩萨的悲悯，像玛丽娅的慈爱，像莫言小说里被生活捶过的人，疲累、淡漠、面目模糊、熟悉又陌生。

当下材料的丰富和可选择的工作媒介有太多可能。刘聪油画专业、和建筑艺术专业以及纯艺专业给予他专业稳固和深厚的养料基础，他的世界游历的习惯也会让他一直有新的触碰，和大量的视觉阅读，视觉的开阔和学养的厚度让他有足够有能力驾驭各种媒介创作服务，油墨、炭铅、丙烯是刘聪主动选择的，我觉得甚至是朴素了。在熟悉里累积工作，寻找新的陌生感，这是刘聪目前在做的工作。庄子说：“万物同一”，我觉得刘聪是在这个“一”里面的。感谢朴素又灵敏艺术家。祝福您。

Jung said that his life was extremely poor in the external things, because the empty and unreal external events could not replace the inner experience, he only knew himself in the light of the inner events. Liu Cong is the perceiver of natural yearning and looking inward. "Tired fireworks series" picture out of control color just echoed the mood of the picture, he felt that it made the expression more accurate. This kind of accurate and accurate is the artist's immediate and immediate psychological projection. The objective and real physical space is alienated and unfamiliar through Liu Cong's perspective. The experience of "the extreme day series" comes from jet lag, In the long-distance flight, the body and mind are not stable, or the body is not stable in the long-distance light, or the light is not stable in the body and mind, or the body is not stable in the long-distance light, or the body is not stable. He used charcoal and lead to outline and rub the "portrait series" one by one, looking down, like some mysterious force to make these people droop, like the compassion of Bodhisattva, like the love of Maria, like the people beaten by life in Mo Yan's novels, tired, indifferent, obscure, familiar and unfamiliar.

At present, there are too many possibilities for the richness of materials and alternative working media. Liu Cong's oil painting major, architectural art major and pure art major have provided him with a solid and deep foundation of nutrition. His habit of traveling around the world will give him a new touch and a lot of visual reading. His vision and the depth of learning and training make him have the ability to control various media creation services Liu Cong took the initiative to choose it. I think it is even simple. Liu Cong is now working on the job of accumulating work in familiarity and looking for new strangeness. Chuang Tzu said, "everything is the same." I think Liu Cong is in this "one". Thanks to the simple and sensitive artist. Best wishes to you.

－－习却 Xi Que

背影 77x55cm 纸上油墨 2017

雕塑 20.5x15.5cm 木板综合材料 2020

二人世界No.2 20.5x15.5cm 木板综合材料 2018

极昼72 20.5x15.5cm 木板综合材料 2020

从2017年在fRUITSPACE做的个展“乡村垂钓俱乐部”开始，我的作品就和“地点”结缘。

在“自由餐厅”的个展中我探讨的是画廊的空间结构本身和作品呈现方式的可能性。在“更衣室”个展的时候我开始关注空间的功能属性和作品内容的内在联系，在这次的“洛克群岛”个展，我更想强调的是“洛克群岛”本身结构特点与画廊空间以及与作品之间的内在联系。

群岛的结构是：在水平面上以各自样貌呈现，水面之下，它们其实是由同一块陆地相连。看似孤立，实则紧密相连。我觉得“群岛”的这个特殊结构和我作品不同的面貌是相吻合的。同时我想通过作品的展示方式和群岛的面貌相呼应，即每个岛屿虽相互独立又有内在的关联。

此次展览分为六个区域即六个“岛屿”，分别以“自然风貌”、“博物馆”、“城市风光”、“人群”、“隐秘空间”和“无名岛”来命名。

“自然风貌”的作品主要集中展示和梳理作品中特别是“极昼系列”中与山水有关的图示，我称其为“外部空间”。剩下的五个部分称其为“内部空间”。这里的外部空间更像群岛外部的水域，内部空间则呼应群岛的各个岛屿和岛屿之间的水域。

内部空间中： “博物馆”、“城市风光”“人群”在主要展厅中呈现，而“隐秘空间”和“无名岛”则相对对立在第三展厅中展示。我试图把不同时期和类别的作品重新“配对”，呈现作品之间的有趣关联。如“博物馆”中探讨了有关“观看的时间性”的隐喻。“城市风光”强调的是人与物之间特点的放大，紧接着“人群”是从肖像切入去探索图示中的差异。“隐秘空间”和“无名岛”更像是臆想中的空间，探索真实中的“不真实”。同时这个“不真实”也呼应了“洛克群岛”一词，即线上项目“浪花酒吧”虚设的地点。

洛克群岛，欢迎大家前来。

Since the solo exhibition "Country Fishing Club" at fRUITSPACE in 2017, my works have been related to different locations.

In the solo exhibition of " Tự Do Restaurant ", I explored the space structure of the gallery and the possibility of exhibition methods. When I was in the solo exhibition of " Changing room ", I began to pay attention to the inner relationship between the functional attributes of the space and the content of the work. In this "Rock Islands" solo exhibition, I would like to emphasize the inherent relationship between the characteristics of the "Rock Islands" and the spatial structure of the gallery and the content of the works.

The structure of the archipelago is: on the horizontal surface, they are presented in their own appearance, and under the water surface, they are actually connected by the same piece of land. Seemingly isolated, they are actually closely connected. I think the special structure of "Archipelago" is consistent with the different aspects of my work. At the same time, I want to echo the appearance of the archipelago through the way my works are displayed, that is, each island is independent and internally related.The exhibition is divided into six areas, namely six "islands", named after "Nature Scenery", "Museum", "City Scenery", "Crowd", "Hidden Space" and "Unknown Island".

The works of "Natural Scenery" mainly focus on displaying and sorting out the icons of the works related to the landscape, especially the works of the "Polar Day Series", which I call "external space". The remaining five parts are "internal spaces". The external space here is more like the waters outside the archipelago, and the internal space echoes the islands of the archipelago and the waters between the islands.

In the internal space: "Museum", "City Scenery" and "Crowd" are presented in the main exhibition hall, while "Hidden Space" and "Anonymous Island" are displayed in the third exhibition hall. I tried to re-"pair" works of different periods and categories to show interesting connections between works. For example, the metaphor of "the temporality of viewing" is discussed in "museum". "Urban scenery" emphasizes the magnification of the characteristics between people and objects. "Crowd" is to explore the difference in the illustration from the portrait. "Hidden Space" and "Nameless Island" are more like imaginary spaces, exploring the "unreality" in reality. At the same time, this "unreality" also echoes the term "Rock Islands", which is the virtual location of the online project "Wave Bar".

Rock Islands, welcome.

极昼83 20.5x15.5cm 木板综合材料 2020

糯 20.5x15.5cm 木板综合材料 2020

飘 20.5x15.5cm 木板综合材料 2020

曝 20.5x15.5cm 木板综合材料 2020

刘聪 Liu Cong

1988年生于辽宁大连，现工作生活于北京。近期个展包括：“临时的，暂时的;短暂的” 盘子空间，北京（2019）；“寂寞的影子”，丽禾艺术空间，深圳（2019）；"更衣室"，fRUITSPACE，北京（2019）；“自由餐厅”，Link画廊，北京（2018）；“平视”，艺术方位画廊，深圳（2018）；“乡村垂钓俱乐部”， fRUITSPACE，北京（2017）。主要群展包括：“飘” 艾格维画廊，纽约，美国（2018）；“Art Central 2018”，中环海滨,香港（2018）；“感动的前提”，Link画廊，北京（2017）；“睛彩联合国国际艺术展”，联合国，纽约，美国（2017）；“花园里的展览”，L-Space,北京（2017）；“纸藏“，Link画廊，北京（2017）；“约翰莫尔绘画大赛（中国）”上海喜马拉雅美术馆，上海（2014）；南京国际美术展，南京国际博览中心，南京（2014）。

Liu Cong,Born in Dalian in 1988. Currently works and lives in Beijing. Recent Solo exhibition include:“Temporary”,PLATESPACE,Beijing(2019);“Lonely shado”,Lia ArtSpace, Shenzhen(2019); “Changing room”，fRUITSPACE, Beijing(2019); “Tự Do Restaurant”, Link Gallery, Beijing(2018); “Parallel Sight”, J&Z Gallery, Shenzhen(2018); “Country Fishing Club”, fRUITSPACE, Beijing(2017).Major group exhibition include：“Drift-float”,Elga Wimmer pcc, New York, USA（2018）；”Art Central 2018”, Central Harborfront，Hong Kong(2018); “Touched by the premise”, Link Gallery, Beijing(2017); “Eyeart international exhibition at the United Nations”, United Nations, New York, USA(2017); “Garden of the exhibition”, L-Space, Beijing(2017); “Paperwork collection”, Link Gallery, Beijing(2017); “John Moore Painting Competition (China)”, Shanghai Himalayan Art Museum, Shanghai(2014); “Nanjing International Art Exhibition”, Nanjing International Expo Center, Nanjing(2014).