可艺术空间将荣幸地推出常驻威尼斯的新西兰艺术家维罗妮卡·格林的最新个展《金致众生》。展览将于2016年9月30日（星期五）下午6点开幕，展期至11月6日。《金致众生》作为格林女士的首次中国个展，将特别呈现其专门为此次展览全新创作的部分作品。

《金致众生》展览延续自格林女士去年一年来，在纽约的阿提法画廊、新西兰的黑星画廊和三十楼画廊举办的成功个展。她的作品目前分别被意大利、瑞士和香港画廊代理。

维罗妮卡·格林于1984年出生于新西兰的一个混合意大利和波兰血统的家庭。她以优异成绩获得了惠灵顿梅西大学的视觉艺术专业学位。学习期间，她在毛利当代艺术和设计风格上注入了极大的兴趣，使其在培养自身创作实践的道路上，映射出对于多元文化的巨大热情。

完成学业之后，带着探寻家族欧洲文化根源的渴求，格林女士在意大利威尼斯完成了一次艺术驻留。在那里，她汲取了意大利风格的经典艺术传统，拓展和释放出具有象征主义风格的画面中漂浮着其奇思妙想的艺术世界，并迅速在威尼斯、米兰、佛罗伦萨和维罗纳各地的展览和艺博会中被关注，成为受欢迎的艺术家。

格林女士的作品中充分受到自然、花语学、符号学、宗教、建筑、寓言、神话和历史等等影响，并熔合当下社会议题的内涵思考。通过画布综合材料，她的作品旨在由绘画的途径去传递自由创作精神的理想气息。
 
策展人前言：金致众生--维罗妮卡·格林维罗妮卡·格林是一位拥有意大利和波兰血统的新西兰画家。在她的生命中，格林女士大部分时间沉浸在祖国新西兰具有丰沛的动植物生态环境的大自然中，其余时间则生活在梦境一般的意大利威尼斯城。基于这些天然的外界影响，我们能直接体验到艺术家创作的画面中强烈的梦境感。

此次《金致众生》展览中所呈现的作品，也标志了一种内在的转向：在艺术家之前近乎一半的创作实践中--画面充满色彩明亮的叙事性内容，清晰描绘出一些儿童形象或者童话故事角色，和一些文字语义一起，呈现出抵抗或者顺从的状态；另外一半--则可以被形容为金色单元--呈现出她典型的梦幻般场景，并着力在这些漂浮着的世界中的抽象特质。而那些她所熟悉的标志性形象，则在画面中显著地退缩至微小的地步，让位给风景自身所具有的强大力量。

这些金色的绘画作品分享了某些传统中国风景画的特质。画面中的阶梯区域和动植物形象分别依据自己的透视关系在画面上汇聚漂浮，没有运用统一的透视灭点来传递空间和距离；每一个部分都对观看同等重要。水平线透视的消失增强了绘画本身的视觉力，使得观者可以跟随着画笔自由地向画幅的边缘、上方和两侧去观看，达成和传统的视觉中心区域一致的饱满力量。整个画布就像从视觉中心飞翔出一个观看的世界，描述着自然和人文的双重景观，充满了自由的精神。
格林女士的作品特别之处，还在与类似于通过一个镜头或者水晶球去观看世界；即当你点亮一盏灯光的时候，这个世界必将惊艳四方。在每一幅她的艺术景观背后，都暗含着一片星光熠熠的夜色。

策展人 魏皓啟

Cospace 7:
Golden Worlds - Veronica Green
 
Cospace is very pleased to present Veronica Green’s new solo exhibition, Golden Worlds, opening at 6pm on Friday, 30 September 2016, and running until 6 November, 2016. Golden Worlds, Miss Green’s debut solo show in China, will feature a dozen new paintings completed especially for the exhibition.
 
Golden Worlds follows a year of highly successful solo exhibitions for the Venetian-based New Zealander, at Artifact Gallery, New York; and Black Asterisk Gallery and 30 Upstairs Gallery in New Zealand. Miss Green is represented by galleries in Italy, Switzerland, and Hong Kong, China.
 
Veronica Green was born in New Zealand in 1984, in a family of mixed Italian and Polish nationality. She completed a Fine Arts (Honours) Degree at Massey University in Wellington, New Zealand, where she took a particular interest in contemporary Maori art and design, reflecting the passion for cultural diversity that her own heritage has fostered.
 
After completing her studies, and with a desire to connect to her European roots, she undertook a residency in Venice, Italy, where her expanding vocabulary of symbolism and fantastical floating worlds intersected with the Italianate classical tradition, proving popular and quickly leading to representation in exhibitions and fairs in Venice, Milan, Florence, and Verona.
 
Her artwork is influenced by nature, floriography, symbology, religion, architecture, fable, myth and history, fusing these together with the politics of the present. Using mixed media on canvas, her work aims to revitalize themes relating to freedom and to transport her viewer through a painted window of liberation.

Curator’s Text:
Golden Worlds – Veronica Green.
Veronica Green is a New Zealand painter, of Polish and Italian descent, who has spent two-thirds of her life fossiking amongst the flora and fauna of her native land, and the rest living in the dream-like city of Venice. Given these influences, one cannot blame her for producing paintings that are solidly dreamlike.
 
The works in Golden Worlds present something of a turning point; approximately half sit firmly in her historic practice – brightly coloured narratives that strongly feature figures of children, fairytale characters, caught either in acts of defiance or acts of contrition. The other half – what could be described as the golden section – take her typically dreamlike landscapes and focus on the abstract quality of these floating worlds. While they feature her familiar cast of symbolic characters, their appearance is markedly reduced, focussing on the weight of the landscape itself.
   
These golden worlds share some commonalities with traditional Chinese landscape painting, the terraces and flora bustle and float, each in their own perspective, without a vanishing point to indicate space and distance, each part equally important to the eye. The absence of horizon is reinforced by the painterly drips at the margins, moving upwards, sideways, as equally as downwards. One is free to project through the canvas, as if flying towards the centre.
 
The effect is akin to viewing worlds through a lens, or crystal ball, which is inflamed further when one turns out the lights. Behind each world is yet another, a night-time world of surprises, full of stars.
 
Curator, Hutch E Wilco.