KAIXUANWANG 王凯萱

KAIXUAN WANG is a contemporary painter and independent theorist whose long-term practice moves across watercolor, oil painting, printmaking, and works on paper.

KAIXUAN WANG / 王凯萱是一位当代画家与独立理论作者，其长期实践跨越水彩、油画、版画与纸上作品。

Rather than developing through a linear progression from one medium or style to another, her work has evolved through a continuous inquiry into perception, material, life, relation, and the position of the human being within the world. This underlying concern can be traced through her practice from her earlier works to the present, while becoming increasingly conscious and articulated over time.

她的创作并非沿着一种媒介或风格向另一种媒介或风格线性推进，而是在对感知、材料、生命、关系以及人在世界中的位置的持续追问中发展。这一内在关切从早期作品延续至今，并在长期实践中逐渐变得更加自觉与明确。

For Wang, the visible world is an entry point rather than the final destination of a painting. Image and thought emerge together. Recognisable forms remain when social, historical, spatial, or material relationships depend upon recognition; at other times, forms loosen when fixed representation begins to constrain bodily experience, perception, memory, psychological states, or the behavior of materials.

对王凯萱而言，可见世界是绘画的入口，而不是作品的最终目的。图像与思想共同生成。当社会、历史、空间或物质关系依赖于辨识时，作品保留可识别的形式；当固定再现开始限制身体经验、感知、记忆、心理状态或材料行为时，形式则会变得松动。

Watercolor, oil painting, and printmaking therefore do not represent separate artistic identities or successive stylistic phases. They are different material conditions chosen according to the questions each work requires.

因此，水彩、油画与版画并不代表彼此分离的艺术身份，也不是先后更替的风格阶段。它们是根据每件作品所要求的问题而选择的不同物质条件。

Watercolor became the most publicly visible part of Wang's practice between approximately 2019 and 2024, particularly through exhibitions and juried competitions, while her broader painting practice continued in parallel. Its transparency, fluidity, and irreversibility also contributed significantly to the development of her thinking about relation, uncertainty, transformation, and softness.

约在2019至2024年间，水彩成为王凯萱实践中最具公共可见度的部分，尤其通过展览与评审竞赛被广泛呈现；与此同时，她更广泛的绘画实践始终并行展开。水彩的透明性、流动性与不可逆性，也对她关于关系、不确定性、转化与柔性的思考产生了重要影响。

Her philosophical writing grows from this sustained artistic practice rather than functioning as a theory imposed upon it. Through concepts including Soft Origin and Artist as Participant, Wang considers the artist not as an external controller of the world, but as one participant within a field of relations—retaining agency, judgment, and responsibility while remaining open to material, environment, other beings, time, and forces beyond complete control.

她的哲学写作生长于这种持续的艺术实践，而不是事后施加于作品之上的理论。通过“柔性本元”与“艺术家作为参与者”等概念，王凯萱把艺术家理解为关系场域中的一个参与者，而非世界的外部控制者：艺术家保有主体性、判断与责任，同时向材料、环境、其他生命、时间以及无法被完全控制的力量保持开放。

Meaning, in this practice, is never entirely closed by the artist. The work establishes conditions for perception, while the viewer participates in its continuing formation.

在这一实践中，意义从不由艺术家彻底封闭。作品为感知建立条件，而观看者参与意义的持续形成。