人往往成为风景的注脚,而剔除人的画面对于韩冰来说便少了许多问题。在她2015年的最新个展“Best Least Worst Option”中展出的一系列近期作品中可以看出,艺术家对绘画的探讨转向所身处的环境和面对的空间,来试探有限空间的多重可能。如何描绘纽约第二大道和第七大道,或地下铁一面空的墙壁,去描述时间涂抹过痕迹——尽管韩冰在绘画中使用具象的表达方式,但画面本身并不指向图像的具体来源。她更加关注的是抽象的形式。在某一个时间点发生,所见与所得并非紧密关联,图像的不可以转译性便是韩冰绘画中的一个矛盾疑点,既然选择了一个无形的对象,却仍然在用一种有形的语言来比拟。不如说是艺术家在画面中留下的疑点是还 People often become the footnote of the scenery, and remove the picture of the people for Han Bing will be less of a problem. In a series of recent works on her latest solo exhibition “Best Least Worst Option” in 2015, it can be seen that the artist’s exploration of painting turned to the environment in which she lived and the space she confronted to explore the limited space Multiple possible. How to portray New York’s 2nd and 7th avenues, or the empty walls of a subway station, to describe the passage of time - although Han Bing uses figurative expressions in paintings, the pictures themselves do not point to specific sources of images. She is more concerned with the abstract form. At some point in time, what we see and what is not is closely related to each other. The non-translatability of the image is a contradictory point in Han Bing’s painting. Since an invisible object is chosen, it is still in a tangible language match. It is better to say that the doubt left by the artist in the picture is still