亚当·博伊德、李依宸：
两种断层
展期：2026.3.6-4.6（周二-周六10：30-17：30，小程序预约）
开幕：2026.3.6 14:00-19:00
地址：上海市静安区延安中路830号西栋101
艺外EY PROJECTS 将于2026年3月6日呈现英国艺术家亚当·博伊德（Adam Boyd）与中国艺术家李依宸（Yichen Li）的并置对话。两位艺术家在媒介、传统与时间节奏上形成鲜明差异：一位以即时与摄影、布料与缝纫捕捉都市的瞬时与消费景观；一位以精细木雕继承并转化非遗技艺，积累缓慢的时间感与仪式性。并置之下，作品之间产生裂缝与摩擦，进而显现当代创作中关于物质、记忆与误读的共同张力。
EY PROJECTS is pleased to present the duo exhibition "Two Kinds of Fracture", featuring a dialogical presentation of works by British artist Adam Boyd and Chinese artist Yichen Li. The two artists present striking contrasts in terms of medium, tradition, and temporal rhythm: one captures the immediacy and consumer landscape of the urban experience through photography, fabric, and sewing; the other inherits and transforms intangible cultural heritage techniques through meticulous wood carving, accumulating a sense of slow time and ritual. Juxtaposed, the works generate fissures and friction, revealing a shared tension concerning materiality, memory, and misreading within contemporary creation.
“两种断层”并非二分定论，而是一种策展策略：通过并置看似无关的二者作品产生初始的惊异，进而邀请观众穿越表皮，去阅读手工作为转译器、“误读“作为方法论的共识。展览关注的并非媒介本身，而是二者如何以各自的工艺与物质实验，对既定文化符码进行解码、偏移与重写。
"Two Kinds of Fracture" is not a binary conclusion but a curatorial strategy: generating initial surprise through the juxtaposition of seemingly unrelated works, thereby inviting viewers to look beyond the surface and discern the shared ground where craftsmanship functions as a translator and "misreading" operates as a methodology. The exhibition's focus lies not in the mediums themselves, but in how each artist, through their respective craft and material experiments, decodes, deviates from, and rewrites established cultural symbols.
博伊德本系列创作与他在日本的驻地经历息息相关，这系列作品是一场由西向东的误读与物质化尝试。摄影在其实践中始终居核心位置——本次回归宝丽来摄影，利用即时影像对温湿敏感的物质性，生成印象式、绘画般的色斑、渗流与纹理。博伊德从东亚地区的视觉文化与日常纪念品景观中取材：挂轴、织物、旅游纪念物等视觉经验被剥离历史语境并转译为物质事件。他以布料缝制、软雕塑化的填充、塑料夹、钥匙圈等日常物件，将影像的情绪、色调与材质印象具体化；通过镜像、复制与模块化策略，摆脱对数字影像的依赖，回归即物与手工的影像书写，使色域、纹理与抽象形式成为对场域感受的情感蒸馏。作品在东方传统表征与当代消费物件之间制造断裂，从而呈现一种既含礼仪感又被商品化记忆打断的视觉场域。
Boyd's series is deeply connected to his residency experience in Japan, representing an attempt at misreading and materialization from West to East. Photography has always been central to his practice – this time returning to polaroid photography, utilizing the immediate image's material sensitivity to temperature and humidity to generate impressionistic, painterly color spots, bleeds, and textures. Boyd draws from the visual culture and everyday souvenir landscape of East Asia: visual experiences from hanging scrolls, textiles, and tourist memorabilia are stripped of their historical context and translated into material events. Using fabric sewing, plushy soft-sculpture forms, plastic clips, key rings, and other everyday objects, he concretizes the mood, hue, and material impressions of the images. Through strategies of mirroring, replication, and modularization, he moves away from reliance on digital imagery, returning to object-based and handmade image-making, allowing color fields, textures, and abstract forms to become emotional distillations of a sensed site. The work creates ruptures between representations of Eastern tradition and contemporary consumer objects, presenting a visual field imbued with a sense of ritual yet interrupted by commodified memory.
亚当·博伊德，《脉络》 2025
绗缝刺绣真丝缎、手工染色聚酯提花织物及白棉布、宝丽来照片、塑料盒及卡扣、绳带、绳扣、钥匙圈配件、金属珠链、三角形 D 形环、填充物、线189 x 64.5 cm
Adam Boyd, Kekkan 2025
quilted and embroidered silk satin, hand dyed polyester jacquard and calico, Polaroid, plastic case and clips, cord, cord stops, keyring attachments, metal bead chains, triangular d-rings, wadding and thread 189 x 64.5 cm
李依宸的创作是一场由古向今的误读。她从传统木雕纹样与结构出发，拆解其实用功能，转而将细部纹饰与构造转写为观念性的雕塑语言。通过精雕刀法，她在木头上雕出“虚空”，使光线与负形成为作品的构成要素；缓慢的手工劳动本身即构成时间的记录与仪式感。其作品在静谧与细节中构筑可穿行的木构园林，既保有传统痕迹，又被当代语境所重写。
Yichen Li's work constitutes a misreading from the ancient to the contemporary. Starting from traditional wood carving patterns and structures, she dismantles their practical functions, instead transcribing detailed ornamentation and construction into a conceptual sculptural language. Through meticulous carving techniques, she carves "voids" into the wood, making light and negative space constituent elements of the work. The slow manual labor itself forms a record of time and embodies a sense of ritual. Her works construct a walk-through wooden garden within stillness and detail, retaining traces of tradition while being rewritten by the contemporary context.
李依宸，《庭院池水凝新碧· 晓》2024
俄罗斯榆木、丙烯 178 × 90× 5 cm
Yichen Li, At Noon, Fresh Jade Stillness in the Courtyard Pool (2024)
Siberian Elm, Acrylic 178 × 90× 5 cm
Edition: 3 + 1AP
尽管媒介与节奏迥异，博伊德与李依宸在本质上是专注的“译者”与“幻想家”。他们通过手部劳动与物质实验——从类比影像、织物缝制、软质雕塑与纪念性物件的层叠，到精细的木雕技艺与历史纹样的再写——共同表述了工艺如何作为概念工具去承载记忆、时间与消费文化的批判。展览在断裂处重构意义，于偏差中生成想象，呈现两条并行的创造路径：即时而印象的都市瞬时；缓慢而仪式的历史延续。整体语境指向更广阔的东亚视觉与物质文化场域，而非单一地域标签，强调文化流动与跨地域记忆的互涉。
Despite their disparate mediums and rhythms, Boyd and Li are fundamentally dedicated "translators" and "fantasists." Through manual labor and material experiments – from the layering of analog images, fabric sewing, soft sculptures, and souvenir objects, to the meticulous wood carving techniques and rewriting of historical patterns – they jointly articulate how craftsmanship can serve as a conceptual tool to bear memory, time, and critique of consumer culture. The exhibition reconstructs meaning at the points of rupture, generates imagination from deviation, and presents two parallel paths of creation: the immediate and impressionistic urban instant; the slow and ritualistic historical continuity. The overall context points towards a broader field of East Asian visual and material culture, transcending simple regional labels, emphasizing cultural flow and the interrelation of cross-regional memory.
亚当·博伊德（1993—，英国）于伦敦斯莱德美术学院获得艺术硕士学位，2016年毕业于格拉斯哥艺术学院。他曾入选2022年彭博新当代艺术奖（Bloomberg New Contmporaries）。
博伊德将影像进行多重转化，重释源自现实的诗意景观。他使用诸如 LiDAR 扫描等数字成像手段——这些设备能记录超出人眼视觉范围的信息——来捕捉自然与城市环境的场景，并将所得数据印制在薄布上。艺术家沿着接缝把印有图像的布片缝合在一起，作品在具象与抽象之间悬置。他以拼接与被子缝制的手工语汇，唤起通过不规则接缝联结多重世界的构成原则。
他的个人展览包括: “Eclectic”, ThisWeekendRoom, 首尔 (2025); “Collider”, ThisWeekendRoom, 首尔(2024); “Protubs”, Commonage Projects, 伦敦 (2023); “Synchronisations”, Coleman Projects, 伦敦 (2023)
他的部分群展包括：: “Even on the day when waiting ends”, 韩国京畿道现代艺术博物馆, 安山市 (2025); “Harrow, March 31st 2005…”, Krupa Gallery, 伦敦 (2025); “Saruya Open Atelier”, SARUYA Artist Residency, 富士吉田 (2025); “Field of Difference”, Palmer Gallery, 伦敦 (2024); “To the Edge of Scenery”, ThisWeekendRoom, 首尔 (2024); “A consciousness harnessed to flesh”, D Contemporary, 伦敦 (2023).
Adam Boyd (b. 1993, UK) completed an MFA at The Slade School of Fine Art, London and holds a Bachelor’s from Glasgow School of Art (2016). He was selected for Bloomberg New Contemporaries 2022.
Boyd subjects images to multiple transformations, reinterpreting poetic landscapes drawn from reality. Using digital lenses such as LiDAR scanners—which capture information beyond human visual capacity—he records scenes of nature and the urban environment, printing them onto thin fabric. Along the seams, he joins fabrics with the printed images, producing works suspended between figuration and abstraction. His artisanal language of patchwork and quilting evokes a principle of composing multiple worlds connected through irregular seams.
His selected solo exhibitions include: “Eclectic”, ThisWeekendRoom, Seoul (2025); “Collider”, ThisWeekendRoom, Seoul (2024); “Protubs”, Commonage Projects, London (2023); “Synchronisations”, Coleman Projects, London (2023)
His selected group exhibitions include: “Even on the day when waiting ends”, Gyeongghi Museum of Modern Art, South Korea (2025); “Harrow, March 31st 2005…”, Krupa Gallery, London (2025); “Saruya Open Atelier”, SARUYA Artist Residency, Fujiyoshida (2025); “Field of Difference”, Palmer Gallery, London (2024); “To the Edge of Scenery”, ThisWeekendRoom, Seoul (2024); “A consciousness harnessed to flesh”, D Contemporary, London (2023).
李依宸（1996—，中国）硕士毕业于英国皇家艺术学院雕塑专业。她曾获“CHANEL香奈儿法国总部”颁发的“NEXT Prize”雕塑设计银奖、Heritage Crafts Foundation“英国遗产工艺基金会”颁发的“遗产手工艺奖Heritage Crafts Awards”。其作品被LVMH 集团、FENDI芬迪、CINDY CHAO、X美术馆、罗中立美术馆、风语筑大楼等机构收藏。
她的创作围绕雕塑的“屏障”概念展开，通过对东亚传统语境的再读，将屏风作为空间分割与意象载体的传统功能，与当代材料语言的研究相结合，形成一种兼具仪式性与物质性思考的工作方法。在雕刻过程中，木材的纹理、温度与香气成为她敏锐感知与回应的对象；自然的物质属性与手工劳作相互渗透，成为作品内在结构的一部分。她将细节雕琢为观念的载体，使光线与负形介入作品的生成，在空间中形成兼具视觉张力与精神深度的空间装置。
她的个展/双个展包括：“屏 园 迷 楼”，阳 澄 湖 悦 榕 庄，苏州（2026）；“李依宸 屏之园”她的房间，頌艺术中心，北京（2025）；“云隐：传家之美的当代觉醒”，养云安缦 ，上海（2025）
她的部分群展包括：“成都双年展”，成都美术馆，成都（2026）；“惊奇的房间”，X美术馆，上海（2025）；“梁匠築藝：天地有大美”，Pillars Gallery 皮勒画廊，上海（2025）；“微光河”，Bluerider ART 蓝骑士画廊，上海（2025）；“芝兰都市园林一隅”，X 美术馆，上海（2024）；“Unseen Wounds”, The Crypt Gallery London，伦敦（2023）；“I Object ”，Freud Museum London 英国弗洛伊德博物馆 , 伦敦（2021）
Yichen Li (b. 1996, China) received her MA in Sculpture from the Royal College of Art, London. She has been awarded Runner-up for Sculpture Design at the Chanel NEXT Award, Chanel Headquarters, France, and Finalist for the Woodworking Award of the Year, Heritage Crafts Awards, UK, Heritage Crafts Foundation.Her work has been included in the public collections of LVMH, FENDI, CINDY CHAO, X Museum, Luo Zhongli Art Museum and Fengyuzhu Building.
Her practice explores the notion of the "barrier/screen" in sculpture, re-examining East Asian traditions by integrating the screen's historical function as spatial divider and image-bearer with contemporary material research. This approach yields a methodology marked by both ritual and material enquiry. In her carving process, the grain, temperature, and scent of wood become subjects of close attention, as natural properties and manual labour intertwine to inform the work's internal structure. Through meticulous detail, she deploys light and negative space as operative elements, creating spatial installations that resonate both visually and psychologically.
Her solo/duo exhibitions include: “Screen, Garden, Layrinth, Pavilion”, Yangcheng Lake Banyan Tree, Suzhou (2026); “The Garden of Screens”, Soul Art Centre, Beijing (2025); “Cloud Veil: Contemporary Awakening of Heirloom Elegance”, AMAN Yangyun, Shanghai (2025)
Her selected group exhibitions include: Chengdu Biennale, Chengdu Art Museum, Chengdu (2026); “The Cabinet of Wonder”, X Museum, Shanghai (2025); “Dongliang Craft Atelier”, Pillars Gallery, Shanghai (2025); “The Aura River”, Bluerider ART Gallery, Shanghai (2025); “Zhilan – A Glance in Urban Garden”, X Museum, Shanghai (2024); Unseen Wounds, The Crypt Gallery, London(2023); I Object, Freud Museum London, London (2021)
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