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【评论】陈成球画作:偶然与传统的结晶

2014-10-15 11:09:29 来源:艺术家提供作者:
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  陈成球先生的画作,令我率先想到协作效果。我想象他下笔时,先任水墨自由流洒,造就一种未经刻意控制的机缘。当他的材料自行形成出人意表的构图后,他便沿着这些形状和线条带给他的灵感,顺意发挥,与他的材料一起创作,尽量带出作品诱人的潜力。有趣的是,这种协作效果,其实是源自中国和西方的实验主义和偶然主义。以下且让我更深入一点解构陈氏作品中所表达的协作精神。

  陈氏的作品充满偶然而成的出人意表效果。他常运用有利的偶然条件作为写画的技法,而这种技法在东方存在的时间比在西方更长,在即兴而成的国画作品里,每每可看到这种技法:当水墨沾在画纸上,会向不同方向溶化开去,造成千变万化的形状,与画家的创作融为一体。作为深受现代主义熏陶的西方人,我想到一些刻意追求偶然效果的西方画家;例如阿艾普爱用纸张弄成各种不同形状,然后随意散落在他的画面上。还有杜桑曾用一米长的绳索掉在帆布上,随意弄出各种图案,也发挥偶然的效果。同样地,陈氏也追求偶然效果。他在写画时,先将水墨大笔大笔地涂在画纸上,让水墨溶化开来,随意分裂成无数泡沫状的小孔,这些由笔触交错而产生的千变万化形状,正是画家追求的偶然效果,跟变幻无穷的大自然有异曲同工之妙。这些由水墨衍化的形状,仿似千姿百态的荷花池、矗立于恺恺白雪的山崖、和气势磅礡的连绵山脉;带出一片茫茫大地,流水琢磨的山岩,以至一泻千里的岩浆。在他追求偶然效果的创作过程中,他的作品所发放的力量,与大自然的力量如出一辙。这些对大自然演变的临摹,在画家可控制下发挥的偶然效果,变成画家的协作伙伴,与他一同发挥无穷创作力。陈氏随着它们带给他的灵感和意念,运用天马行空的想象力,把它们的潜质悉数发挥出来。结果,这些可控制的偶然效果丰富了他的想象力,也为他写作风景画注入新的意念、开辟新蹊径。他在运用偶然效果的过程当中,让自己和现代实验主义精神融合为一,而同时延续着水墨画的传统。

  陈氏在画作运用水墨发挥的偶然效果虽然令我着迷,但我必须指出他的作品其实非常富有传统中国水墨画的风格。我是个热爱传统国画的西方人,我发觉画纸是造就这些风格的重要媒体。纤薄的宣纸与欧洲水彩画所用的厚质画纸大不相同。在陈氏的画作,画纸本身的质料和特色与他笔下发挥的偶然效果相得益彰。质地纤薄精致的宣纸,让水墨可挥洒自如,绘画大自然达到出神入化的境界。它一任水墨随意化成山水的天然形态,浑然天成,不着痕迹。

  陈氏在传统画纸用水墨所作的实验,使他的作品既收到出人意表的效果,也保留了传统国画的气质和特色。他的作品证明了他乐意追求一些技法,可令我们对山水画的面貌、意境和四季的变化有更深刻的体会。这是陈氏在作品中所发挥的协作效果最高境界:与山水画的精神融合为一。我们可以从他的作品体验到山脉在茫茫白雪覆盖下的变化,从而意会到大自然的变幻和定律。一望无际的辽阔大地,与蜿蜒曲折、刻划细致的地方错综交错,形成层出不穷的对比,象征大自然蕴藏的精神:简单和复杂、干燥和潮湿、坚硬和柔软、冷静和激烈。你会在他的作品体验到秋天风雨交加的天空、严冬黑沉沉的山脉、春天悄悄的到来、和夏天的酷热。他的画作所发挥的偶然、出人意表的效果,鼓励我们超越寻常的想象,开拓我们的想象力,加深我们对大自然的体会。他笔触所到之处,每每带出令人意想不到的效果,教会我们期待非比寻常的惊喜。

  魏尔生教授(美国宾夕凡尼亚州州立大学艺术教育系)

  Collaboration with Chance and Tradition

  When contemplating the paintings of Chan Shing Kau I think of collaboration. I imagine how he begins his works by giving his ink and washes the freedom to do what they wish to do – opportunities which are beyond the precise control of the artist. Once his materials have arranged themselves into surprising configurations, the artist begins work with these shapes and lines, following in some of the directions that they suggest, and extending the ideas that they propose. Both the artist and artwork-in-progress contribute to the painting’s final form and its potential for intriguing viewers. Interestingly, Mr Chan’s collaborations with his materials have relationships to both Chinese and Western notions pertaining to experimentation and randomness. Let me elaborate upon the idea of collaboration in Chan’ paintings.

  First there is Chan’s collaboration with the unexpected and with chance occurrences. He uses to his advantage the element of randomness as a way of creating art-a way of working which I expect has probable existed for a longer time in the East than in the West. It seems to me that in spontaneous Chinese painting, there is always the chance that as an ink wash touches paper it will flow in unexpected ways creating unanticipated forms that may be incorporated into the emerging painting. As a Westerner steeped in modernism I think of particular artists’ deliberate pursuit of chance occurrences. There is, for example, Arp who dropped paper shapes allowing them to flutter downward until they found their own positions within his compositions, or there is Duchamp’s recording and incorporating into his works the random patterns formed when he dropped a meter-long string on a canvas. Ina similar pursuit of randomness, Mr Chan begins many of his paintings with sweeping brushstrokes in which ink washes are partially dispersed by emulsions thus producing a myriad of chance bubble-like openings. These passages are, in effect, the residue from interactions which cause ink to collect in an infinite variety of patterns. Always possessing elements of randomness, these patterns are not unlike the infinite complexity found within nature itself. The evolving patterns mimic the variations of a lotus pond, the patterns of rocks erupting from blankets of snow, the strength of mountainous crags and cliffs; they evoke the sweep of an expanse of terrain, the character of boulders sculpted by flowing water, and even the force of magma eruptions. In his pursuit of randomness and chance patterns, Chan’s painting processes release forces, not unlike the forces of nature. These partially controlled and partially random emulations of natural processes become his collaborators when unexpected forms suggest unimagined possibilities. Chan, in turn, responds to them, accepts their suggestions, pushes them beyond what they have begun to be, and fulfills their latent potential. Consequently, these nearly chance patterns lea Chan into new realms of imagery and to new ideas about landscape. It is in his use of chance occurrences and randomness that Chan aligns himself with the spirit ;of modern experimentation and simultaneously extends the tradition of ink and wash painting.

  Nevertheless, as I point to the randomness of ink and wash patterns which so intrigue me in Chan’s paintings, I must remind myself just how much his works transpire within the context of the deep traditions of Chinese ink and wash painting, To a Westerner who admires traditional Chinese painting, I have come to realize just how much these conventions are shaped by the very surfaces on which they are made. Thin hsuan paper is so very different from the thick papers used in European water color painting. In Chan’s painting the character and quality of paper itself becomes a willing collaborator with the randomness of patterns he achieves through his washes. The character, delicacy, fragility, and textures of hsuan paper provide the ground on which ink washes are permitted to rival the workings of nature. The paper encourages washes to become geological formations that are endlessly random and at the same time ordered by their own internal logic.

  Chan’s experimentations with inks and washes on traditional paper surfaces simultaneously move his paintings into unexpected realms while permitting them to retain essential qualities and characteristics of traditional Chinese painting. His works provide evidence that he is willing to pursue practices that will led to a deepening of our responses to the painted landscape-e in all its forms, moods, and seasons. This is the final dimension of collaboration in Chan’s paintings, the collaboration with the spirit of landscape painting itself. In his paintings it is possible to experience the essence of difference in the mountain boulders on which snow has fallen; in them one finds nature simultaneously stable and fugitive. The interplay of vast open spaces with areas that are intricate and delicately refined evoke the endless stream of contrasts that characterize the spirit of nature-the simple and the complex, the wet and dry, the hard and the soft, the calm and violent. One discovers within his works the terror of stormy autumn skies, the brooding dark mountains of winter, the calm birth of spring, and the close heat of summer. Randomness, surprise, and the unexpected in Chan’s paintings deepen our experience with nature by encouraging us to transcend our ordinary perceptions. By collaborating with the unexpected he teaches us to expect the extraordinary.

  Professor Brent WilsonArt Education Penn StateUSA

 


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