真正塑造王康创作面貌的，是他在中国美术学院读研时期。通过研习西方文艺复兴之前的壁画技法、构图逻辑与形式语言，他慢慢沉淀出独属于自己的艺术面貌。

王康的气质，成熟之中裹挟着不羁。他热爱骑摩托奔赴荒野，谈及骑行游历的过往，眼中总有光亮，这份对自由与冒险的向往，早已刻入他的性情。或许正是这份底色，让他在创作道路上主动跳出熟悉的油画体系与传统写生路径，坚定选择坦培拉作为主要创作媒介，并长久深耕于此。

他将骑行途中的所见所感、旅途邂逅的风物际遇，尽数内化进作品之中。马、蛇、飞鸟、摩托、林木、江河与群山，反复出现在他的画面里；即便是画中相伴的男女，也流露着彼此眷恋，却又畏惧被束缚拉扯的复杂情绪。

物象与心底对自由的渴求彼此交织，构筑出王康作品独特的迷人气质。这也恰恰映照出都市人内心深处，那份隐秘的精神向往。

2026年9月6日

文 / 林晨曦 ( 中国美术学院副教授，

中国美术学院壁画系副系主任 )

初见王康，他背着一个特大号旅行包，眼神坚定，带着野生的自由感。在漫长的高原骑行中，他甚至学会了独自修车。这种来自“在路上”的身体经验和动手能力，看似与画室中繁复严密的坦培拉技艺相隔甚远，但在感知与重塑世界的精神尺度上，二者互为镜像。

作为极具物质重量的古老媒介，酪素坦培拉见证了拜占庭与中世纪的静默与崇高。随着水分蒸发，矿物微粒与蛋白质咬合出一种沉着内敛、微孔呼吸的哑光质感，形成恒久的物理附着。在审视现代视觉生产时，人们往往将画面割裂为单纯的“图像表征”，而忽视了艺术实践本质上是由身体动作与物质媒材共同构筑的物理事件。王康敏锐地捕捉到了这种古老媒介的物性力量，承袭中国美院壁画传统对物性营造的严谨道统，在古典的造物秩序中寻找着属于自己的表达。

艺术上的层层劳作与现实生活中的破风独行，在王康身上达成了内在的一致。本次展览以“绿野寻踪——王康坦培拉寓言”为题，意在脱离习常风景画中抒情式的再现，将其转化为一场关于自我存在的精神探寻。在一个万物竞逐即时反馈、目光漂浮的时代，他像一个执拗的跋涉者，在充盈着生机、荒蛮与未知的原野上不断深入，留下无法被轻易抹去的存在印痕。

顺流者随波取暖，逆风者独入荒原。循着这些沉默而坚实的物质痕迹，每一位行至此间、心意相通的同路人，都将读出这场“绿野寻踪”背后独属于当代个体的精神坚守。

文 / 刘颖佳 博雅明瑞艺术馆馆长

Wang Kang forged his unique style during postgraduate studies at the China Academy of Art. Inspired by pre‑Renaissance murals, he built his personal visual language. Mature yet uninhibited, his passion for motorcycle travel and freedom led him from oil‑painting and plein‑air work to tempera.

Travel shapes his art. Horses, snakes, birds, motorcycles, woods and mountains frequently appear; his depictions of couples blend affection and fear of confinement. Fusing tangible subjects with an inner longing for freedom, his works echo urban people’s hidden spiritual pursuits.

By Lin Chenxi

Associate Professor & Deputy Head, Mural Department, China Academy of Art

With a large backpack and untamed freedom, Wang Kang gained hard‑won practical experience from high‑altitude long‑distance riding. Though this rugged life differs from his refined studio tempera making, they share the same spirit: two ways to understand and reshape the world.

Casein tempera, an ancient heavy medium, yields durable, serene matte surfaces from minerals and protein. Drawing on the China Academy of Art’s mural legacy, Wang Kang explores tempera’s material potential to create within classical traditions.

To him, meticulous studio layering and solitary wild journeys are spiritually inseparable. The exhibition Traces in the Green Wild: Wang Kang’s Tempera Fables turns away from decorative landscape toward spiritual self‑quest. Amid today’s fast‑paced, distraction‑filled world, he is a persistent wanderer heading into the wilderness. Against easy conformity, he walks alone against the wind. Within these quiet material traces, audiences can perceive the unyielding spirit of a contemporary artist.

By Christine

Director of Boya Mingrui Art Museum