此次宋元元“测试物”的展览，带来不同以往的全新作品，这些作品表现出更为娴熟的绘画技巧。对绘画空间的改造，以及对大场景中局部细节的关注显得更为有把握。

测试物，意在探讨空间中物的存在，物与物的关系，物与空间的关系，宋元元关注的并不是一个生活已久并带有生活气息的家庭场景，而是一场活动结束后的混乱场面，或是正在布置中的家庭。他的绘画抽离了人的在场，留下的是人的痕迹，这种痕迹极为异样乃至荒谬，并使得物与物之间产生强烈的戏剧张力。这些物扮演着各自的角色与故事，演绎一场荒谬的现实生活。另一方面，宋元元又时而将影像中添加文字元素，语言的介入使得画面具有可阅读性，但这个可读也可能是一种思想的陷阱，意在打乱观者的惯性思维、和对绘画习以为常的普遍认知。

在这次展览中，宋元元的绘画不仅仅是对物的再现，也是藉著探讨物的本质，测试着人们对物的看法、测试着人们对美的态度，重新提出对于当下视觉文化再度关注和省思的美学议题。在快速发展的中国，到处弥漫着工业成批量的产品，这种日常生活中简陋，拙劣，廉价的复制物，和随之携带的美感条件，暴力侵入了人们正在经历的当代生活，导致美感判断也逐渐衍生出双重甚至多重标准。藉著宋元元的油画作品、那些表面上不过是装饰廉价的沙发、或是墙角的一个破包，也许正是萌发人们重新省思自身审美观的契机。

Platform China is excited to present “Examining Objects”, a solo exhibition of new works by Song Yuanyuan.

In a departure from his experimentation with non-traditional canvas stretching and framing techniques, Song Yuanyuan continues to examine objects within the confines of a traditional oil painting format. Depicted in spaces awkwardly ambiguous whether they are in the process of construction or destruction, there is a certain discord between the objects that challenges the viewer to reconsider a multitude of relationships: the relationships between the objects, the objects and the painting, the objects and the viewer, and the viewer and the painting.  The idea the object is broken down, disregarded, and newly approached with no preconceived notions about what an object is or what it should be, extending the examination to concepts of space, people, existence through implication, and the painting themselves. The artist’s use of text in some of the works, appearing sometimes as blunt statements of what the objects are, sometimes as a more personal commentary, exists in a an obscure space between providing insight and disrupting the viewer’s perception of the work.