失形离象 Formless, Imageless
艺术家 Artists: 张宏裕 HONGYU ZHANG
2026-08-03 – 2026-08-19 · 杭州 Hangzhou · L Gallery
失真的面孔、沉默的身体或一种难以言说的情绪，我们总会本能地寻找轮廓、身份与原因，将零散的痕迹拼合成经验之内的形象。我们试图看清他人，却可能在他人身上看见自己。 Distorted faces, silent bodies, or emotions that resist articulation: we search for contours, identities, and causes, instinctively, assembling scattered traces into images that fall within the bounds of our own experience. We try to see others clearly, while finding ourselves reflected in them.
张宏裕的绘画将人物置于显现与消退之间。线条反复穿过面孔与身体，覆盖、擦除与重叠持续打断辨认。人物仿佛正在靠近，又在即将清晰时退回颜料、笔触与痕迹的深处。形象逐渐游离动荡，脱离既定的身份与叙事。
“失形”既是一种画面状态，也是一种观看方式；“离象”则让形象从可辨认与叙述中暂时退出。当表情、身份与故事不再继续提供答案，我们应当如何继续寻找意义，又如何将过往经验投射到形象之上。
失形与离象之后，留下的是尚未被看清、命名与判断的部分。真正的接近，或许并不始于彻底看清，而是抵达德勒兹所述的“被清晰摧毁的清晰”。
策展人：张舒涵
执行策展人：俞小小 Hongyu’s paintings place the human figure between emergence and disappearance. Lines repeatedly traverse faces and bodies, while acts of covering, erasure, and superimposition continually interrupt recognition. The figures seem to draw near, only to recede—just as they are about to come into focus—into the depths of pigment, brushstroke, and trace. Gradually, the image begins to drift and destabilize, slipping free of fixed identities and narratives.
“Unforming” describes both a pictorial condition and a mode of seeing, while “Beyond the Image” allows the image to withdraw, for a time, from recognizability and narration. When expression, identity, and story cease to provide answers, how do we continue to seek meaning? And how do we project our past experiences onto the images before us?
What remains after unforming and moving beyond the image is that which has yet to be clearly seen, named, or judged. True proximity may not begin with seeing completely, but with arriving at what Deleuze described as “a clarity destroyed by clarity.”
