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【观点】创作语录

2012-04-23 13:35:21 来源:艺术家提供作者:
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  多年以来,我以日志和手迹的方式,记录下我们正在剥蚀和坍塌的风景。

  Over the years, I have recorded the weathered and collapsing scenery of our time through diaries and manuscripts.

  1991年初冬,我从长途车里回望渐渐远去的大雪覆盖的黄土高原,在一片被白色抹去的风景里结束了我的十年纪行。此前不久,我画了《大风景》,它已不再是我1985年以前那些关于文化记忆的黄色土地。自《大风景》开始,由散开再拼合的土地到如教科书般的截面剖析,我用自己的方式观照当下混杂的文化状态,观照人的生存状态和文明走向。我们,当然也包括我们的艺术都生存在世界这片大风景里,作为艺术家,我的工作无法不去这样诘问和思索。同时与看重作品的精神性相等量,我亦以全部热情去探寻作品的呈现样式和语言表达,这二者在我的艺术创作过程中浑为一体,已难分清孰先孰后,孰轻孰重。正如历史提供了一个如此丰富的文化背景,使我们在匆忙的步履间环顾四野,总能得到启示一样,历史也提供了视觉表达的多种可能性。在今天,向前走去的时间不断产生新的视觉经验,这使得我一直主张并付诸实践的综合风格和自由表达方式,得以协调地融入中国当代艺术的风景之中。

尚扬 1996年

  In the early winter of 1981, as I looked back the disappearing snow-covered Loess Plateau from the long-distance bus, my decade of travel notes had came to an end in a scenery erased by all the whiteness. Not long ago, I painted Great Landscape, which is no longer the yellow land full of cultural memories before 1985. Since Great Landscape, from the spread-out and then put-together landscape to textbook-like cross-section analysis, I have been reflecting on the present state of hybrid culture, people's living condition and civilization trend in my own way. We, of course including our art, all survive in this great landscape called the world. As an artist, I cannot stop such questioning and thinking. At the mean time, beside spiritual context, I also explored genres and expressions with all my passion and equal effort. These two parts have been melted together in my creation process, even hard to distinguish or weight priorities. As history has provided us with such a rich cultural background so that we can always obtain inspirations while looking around in a hurry walking between fields, it also provided us a variety of possibilities of visual expression. Today, the unceasingly step-forward of time continually produced new visual experience, which makes the comprehensive style and free expression I have always advocated and put into practice naturally coordinated into the landscape of contemporary Chinese art.

Shang Yang 1996

  我从九十年代初期开始,在作品中表达对人类与环境问题的关注。随着时间的推移,在愈渐深刻的生存体验中,我已无法抛开对这一问题的思考。我一直努力赋予这种思考以独特的表达,因为这是我作为一个视觉艺术家存在的理由。我所追求的这种表达仅仅包含三个简单的要素,即:当代的,中国的和我个人的。

尚扬 2000年

  Since the early 1990s, I have expressed concern to human and environmental issues in my works. As time goes on, I have been unable to put aside thinking about this issue with more profound life experience. I have been trying to give a unique expression to this kind of thinking, because this is my reason to be a visual artist. The expression I have pursued contains only three simple elements: contemporary, national and personal perspectives.

Shang Yang 2000

  我十分重视创作手稿,这是生产之前的孕育,一件作品如用十天创作,真正地在画布上去画,我以为三天足矣,那七天做什么?就是反反复复将这张画放在脑子里面去画,放在肚子里去画,并用一张张的纸头去捉摸和记载,这就是手稿。这些不经意地随手勾画的东西,其实是放松状态下的心的记载。常常是在这些手稿中,包蕴着你正在展开的创作中最好的趋向,和一些最有价值,最有启示性的东西。常常是这一张张的手稿,使你的创作跨越粗糙的冲动和空泛,使你的企图逐渐地澄明起来。这时,关于这件创作的取向,视觉形态和作法步骤已了然于心,余下的时间,你可以心无旁骛地以最好状态在作品上发挥,这生产必是顺利的。

尚扬 2002年

  I attached great importance to the scripts, which are made prior to production. For one piece of work, if it could be completed in ten days, I think three days are enough for canvas painting. So what to do in the remaining seven days? That is, to draw the picture repetitiously with heart and soul, and take down notes on papers again and again, which are called scripts. These random sketches are actually record of your relaxed state, which usually convey the best trend, the most valuable and inspiring things of your ongoing creation. It is often a script that makes your creation go beyond rough impulses and vagueness, and gradually clarify your attempts. At this time, the creation orientation, visual forms and practice steps have become clear in mind. For the rest of the time, you can concentrate on the works to give the full play, and then this process will go smoothly.

Shang Yang 2002

  1994年,我拟以董其昌山水画作为我的《大风景》系列的背景图示,后又搁置。这些年来,我一直以“大风景”表达我对人与环境,以及人类生存前景的关注。2002年,我在《山水画入门》系列作品完成后写了这么一句话:“学习描绘山水画的母本已经变得面目全非,何以入门?”

  我又回到了董其昌。在他的笔下,集合了中古时期中国的画家们以不同笔调所表现的同一主题——与人合而为一的自然,如今它们已不复存在,取代它们的,是一种虚拟的自然。

  《董其昌计划——2》是一件由三幅画面连接而成的长卷,左边是群山的近景,郁郁苍苍,云气蒸腾,这是自然原本的样貌;目光移至中景,群山已有些萧然;而在右边的山的全貌,已是虚拟的网络化了的风景。

  当我将喷绘的画布钉上画框,坐下来看这些已不复存在的山水和虚拟的自然连接在一起的画幅,我发现没有必要作更多的添加,这种视觉导致的含义已十分地清晰。虽然作品在表达上与视觉的真实已相去甚远,但从某个角度去看,它真实性却表达了我们所处的生存环境的一件非常写实的作品。在这画室的窗外,“非典”高峰期的北京城空前地寂静,空气中弥漫着84消毒液的气味,静静地驶过的公交车上空无一人。在远方,SARS正肆虐全球;在两河流域,一场刚宣布结束的战争却以另一种方式更为激烈地延续着。我凝视着画布,深切地感受到在当今世界这虚拟化的风景中,人与自然所面对的重重危机。我的手机接收到远方友人发来的关爱的讯息,以及防治非典的中药方,我将它们抄录在画面上,替代了那些原应是古人咏觞自然的文字。

尚扬 2003年

  In 1994, I intended to use Dong Qichang's landscape paintings as background of my "Great Landscape" series, but then delayed. Over the years, I have expressed my concern towards people and environment as well as human survival through these "landscapes". In 2002, after the completion of "Introduction to Landscape Painting" series, I wrote the following sentence: "Even the examples of landscape paintings have become unrecognizable, how could new learners get started? "

  I went back to Dong Qichang's works. His strokes conveyed the same theme as other ancient Chinese painters with various styles. That is, a harmonious unification between human and nature. However today, this exist no more, and is replaced by artificial ones.

  "Dong Qichang Project-2" is a long scroll connected by three screens. On the left is close-ups of green mountains and white clouds, which are original appearance of nature. In the middle one, the mountains seem a little desolate. While on the right is already artificial or virtual landscapes.

  As I framed my inkjet canvas, sit down and watched the screens where disappeared landscapes and artificial nature mixed together, I found unnecessary to add anything to them. The visual meaning is rather clear. Although this work is a lot different from reality on visual expression perspective, but from a certain angle it depicts very realistic living environment in our life. Outside the studio window, Beijing was experiencing unprecedented silence at the peak of SARS. The air was filled with the smell of disinfectant 84. In the street, only empty buses quietly passed by. In the distance, SARS has ravaged the world. In Mesopotamia, a recently announced ceasing fire turned into another more intense extension. I gazed at the canvas, and keenly felt the surging crises faced by human and nature today in this more and more virtual landscape. My phone received message from friends and relatives far away, sending love as well as prevention and treatment prescription of SARS. I transcribed them in the screens instead of those harmonious songs from ancient times.

Shang Yang 2003

  继《董其昌计划—2》以后,我创作了《董其昌计划—3》。画面中依然部分采用了董其昌的山水图式。看似一座实体的大山,却又是一个虚拟的影子。画面上的不同区域留有“遮盖”、“灰白”、“地层”、“空白”等用木炭条书写的文字,这是在构思的过程中记下的符号,表明一种未完成的视觉状态,也显示模糊的思维过程。这些本该遮蔽的东西,却在画面中清晰地袒露出来,以这种方式完成了一种语言的转换。

  《董其昌计划》这个系列延续了我90年代以来,对于人和环境的关注。画面并置的极不和谐的两个部分会让人联想到社会和心理,特别是隐喻这个社会已经坍塌的某些部分。取之于自然的鲜活生动的原貌,用摄影和复制的方式喷绘出的山林郁郁苍苍的生动图像,与另一半呈现出剥蚀、龟裂被粗暴干预的画面并置一处时,大自然原有图像的生动性减弱甚至消失了,这时,你就会发现破坏的力量更鲜活生动,更强有力,它其实就是今天的现实。

  传统绘画方式与数码的新媒介的并置在《董其昌计划》系列中运用的更为清晰一些。将媒介的方式、视觉的方式转换成为画面内容是我工作的一个重要方面,在这里,它不仅仅是一种运用于画面的媒材,而是已经成为画面所要言说的主题了。

  这就是画面上意图行进的方向,在这里,应该能动地把握视觉语言材料直接成为思想。

尚扬2008年

  After "Dong Qichang Project-2", I created "Dong Qichang Project-3", still adopting Dong Qichang's landscape painting style, where an entity of real mountain could also be a virtual shadow in the screen. There are words like "cover", "gray and white", "strata", "blank" written with charcoals at different regions of the screen, which were produced during the concept construction period, indicating an unfinished visual state and vague thinking process. These symbols should have been sheltered but exposed clearly in the screen, through which expression is completely conversed.

  "Dong Qichang Project" series expressed my concern towards human and environment since the 1990s. The two conflicted parts paralleled in the screen lead us to sociological and psychological perspectives, especially the part implying that the society has collapsed. As the vivid image taken from original appearance of natural landscapes through photographing and inkjet painting being put together with the other half showing erosion, cracking or even destroy, the effect of the former is weakened or disappearing. You may find the part being destroyed appears more real and powerful, which is actually the reality we are facing today.

  Traditional painting style is coupled with new digital media. The juxtaposition of these two expressions may be more clear in "Dong Qichang Project", since all issues are considered through converting media and visual ways into screen content. Here, it is not just a media but has become the theme of the screen.

  This is the direction I intended to adopt on the screen, where a dynamic grasp of visual materials should be directly turned into ideas.

Shang Yang 2008

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