胡媛媛的绘画，记录的是一种“遭遇”。这遭遇是面向人群、生活所形成的意识流。她的敏感与关于视角的转换总能将那些日常事物与某种动机产生连接。因此，她的绘画并非现实主义的客观描摹，而是刻画与对象的遭遇。物、时间以及感觉都失去了其稳定、固定的指称性，没有必要的解释，但同时却产生了想象的条件。由此成为一种书写，一种在坚决的消逝与强烈的存在之间的“感觉的逻辑”。
▲《凛冬将至》（Winter is coming），100×100cm，布面综合，2026，©艺术家及弄空间
In Hu Yuanyuan's works, the subjective vision is actively suppressed. The remaining texture, the metaphor of things, and the expansion of traces make the picture appear silent and vast, as if filtered through half - closed eyes. This inevitably reminds people of Martin Jay's famous concept of "Downcast Eyes". Allen Ginsberg once demonstrated it like this: "Lower your line of sight to about 6 feet (about 1.83 meters) in front of you and reduce its focus. He taught me that this kind of staring allows people to engage in meditative contemplation rather than analytical examination of the external reality. It avoids the distractions brought by daily visual experience and enables people to better understand the unity between the internal and the external. It does not anxiously look forward to an uncertain future but focuses on the fullness of the present. Moreover, it can eliminate the potential dominance, penetration, alienation, objectification, and even violence of the stare..."
Hu Yuanyuan's paintings with a "low - light" effect imply the same perspective. They create a blurred zone between the internal and the external, the subject and the object, the recognizable and the disintegrated. In this zone, there lies the wakeful sleep, the silent thunder, and the hidden manifestation. She grew up in Jingzhou, Hubei. The historical traces and the growth of the land have made her feel the solemnity and grandeur of a "place" and cultivated her sensitivity and simple perception of things in daily life, such as angles, hardness, marks, and shapes. Her continuous research and writing in philosophy provide the motivation for continuous discovery in daily life. She even directly extends her writing to the painting, making it part of the work. The sketches in the exhibition will allow the audience to see her efforts in capturing the characteristics of the objects.
In addition to paintings of daily objects or scenery, the exhibited works also include those painted based on news screenshots of major events around the world. Although the titles of the works are very specific (such as "Scenes of the Israeli Army's Recent Attacks on Lebanon"), the pictures have the same sense of abstraction: the map of the earth is like a fragile and loose wall, the sky illuminated by the fire turns into the setting of a theatrical stage, and the stare at the war machine reveals the cruelty of mediation and restraint. The "absence" of people does not mean erasing the suffering but leads to a kind of contemplative mourning. Hu Yuanyuan has re - configured the order of the visible and the sayable about war in her paintings. By preserving the sky, the earth, and some continuously existing state structures, as well as the overall atmosphere of war or catastrophe, she tries to approach what Jean - François Lyotard calls "the unpresentable," maintaining respect for the events and the solemnity of commemoration in a recordable and readable painting form.
Hu Yuanyuan creates a parallel world with her paintings. In this world, all boundaries disappear. Emotions begin to well up on the surface of things and gradually seep into their interior. In such a silent and focused encounter, the world and people achieve a brief reconciliation, allowing them to settle with each other.
▲《以军近日袭击黎巴嫩画面》（The recent attack by the Israeli army on Lebanon），40×50cm，布面综合，2025，©艺术家及弄空间
▲《辐射》（Radiation），70×100cm，布面综合，2026，©艺术家及弄空间
Exhibition｜Guangzhou LongSpace
2026.3.7-4.19
