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低徊辗转 静默如谜: 巧云的画

2019-10-10 22:56:54 来源: 艺术家提供 作者:陈雷 
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摘要:看巧云的画,平平淡淡中猛地会有修禅悟道的感觉;又如读日本俳句,不经意间会有人生无常之恸被隐然唤起……LookingatQiaoYun'swork,there'sasenseoftheZenmeditationthatsurgesthroughtheordinary;orlikereadingahai…

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看巧云的画,平平淡淡中猛地会有修禅悟道的感觉;又如读日本俳句,不经意间会有人生无常之恸被隐然唤起…… 

Looking at Qiao Yun's work, there's a sense of the Zen meditation that surges through the ordinary; or like reading a haiku that inadvertently invokes the grief of life's impermanence.

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涌动0802,61cmX62cm,纸本水墨,2019年

Surging 0802, 61cmX62cm, Paper ink, 2019

把做艺术比喻成修行已经有点滥情造作了,但展开巧云多年的作品一路看来,那种线性发展的严谨性以及上下文关系的清晰明确,无不透露着思考的痕迹和对自我的严格要求。她把所有人生的惶恐和疑惑都忘怀于笔端,有执念,有恒心,以追求万有事相之实相为目的,这不是一种自我修行又是什么呢?

It has been a cliche to compare art with meditation, however, the rigor of linear development and the clarity of contextual relationship throughout her artworks manifest traces of contemplation and self-discipline. With the brush in hand, she has forgotten all the fears and doubts of life, seeking the truth with passion and perseverance. How can this not be described as a meditation?

巧云早期的作品对技巧有很深的揣摩。那些具象意味的花卉作品,优美典雅、瑰丽精微,在市场中非常讨喜,但她从来不满足于这些,她对中外前卫艺术思潮都很关注,心中没有成见,也从不把自己放在一个圈子里孤芳自赏。眼界的开阔和内心的思考,使她开始在作品中不断舍弃外人看来光鲜亮丽的那些东西,执着地走向一条质朴的个人主义道路。

Qiao Yun's early works bore a deep understanding of techniques. Those figurative paintings of flowers, elegant and delicate, were popular in the market. But she was never satisfied with these, she paid close attention to both Chinese and foreign avant-garde art trends, without prejudice, or being narcissistic. The broad vision and thinking allowed her to forgo the superficial and insisted on an unsophisticated individualism.

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涌动0601,32cmX32cm,纸本水墨,2019年

Surging 0601, 32cmX32cm, Paper ink, 2019

于是,变化多端的笔墨趣味不见了,代之的是重复、笨拙的勾画;疏旷、精巧、奔放的构图不见了,代之的是绵密、冷峻、内敛的随意铺陈。艺术家都是自恋的,技巧的完美常常导致最大自恋,但这对艺术家其实也是最大的威胁。巧云能够摆脱人性的局限果断的走出去,这既是勇气,也是一份灵性的张扬。也只有这样才使她从视觉世界的千变万化中,逐步提炼出一种有限和有序的形式系统。那份坚持和决绝,真有一股子遇佛杀佛、逢祖灭祖、见圣毁圣的狠劲。

Thus the elegant and delicate became the repeated and clumsy strokes. The sparse, exquisite and bold composition became the dense, cold and tight. Artists are narcissistic and the perfection of technique often leads to the greatest narcissism, but it is, in fact, the greatest threat for artists. Qiao Yun can break away from the limitation of human nature which is a display of courage and also her unrestrained spirit. Only then can she establish a limited and ordered system from that infinite visual world of hers. Her persistence and determination really is an unstoppable force.

心无杂念,眼无障碍,这是自我的救赎,也是自我的升华。她只是用手中的那支芊芊墨笔,就把所有关于传统笔墨趣味以及什么气韵生动这些旷世大法从思想的石板上断然擦去,擦得一干二净。

Pure at heart, clear in sight, this is a self-redemption and also a self-sublimation. She has cleansed all the notions and aesthetics of traditional painting away with her brush.

巧云的画,既抽象又写实,无可归类,无法轻言解释。维特根斯坦曾说:“艺术品就是从永恒的方面所看到的事物。”巧云的画似乎画了很多的东西,有无数的细节,有无数看似相同却没有一个相同的形状,但看到后来却觉得什么都没有画,这种无可描述的视觉感受,才是我们要严肃对待的东西。就是在这种无可言说的状态中她悄然的把一个绘画的景观建立了起来,而她呈现给我们的世界是一个超越了经验而独立存在的世界,是一个平凡而巨大孤寂的世界。

Qiao Yun's works are both abstract and detailed, unable to be categorized nor explained. Wittgenstein once said, "The work of art is the object seen sub specie aeternitatis." Qiao Yun's works seem to depict a lot of objects, details and similar yet different shapes, but in the end, you realize that nothing is drawn. This indescribable visual feeling is what we should take seriously. It is in this unspeakable state that she quietly shapes a landscape of painting, and the world she presents to us is a world beyond experience and independent existence, a world of ordinary and great loneliness.

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涌动0801,32cmX36cm,纸本水墨,2019年

Surging 0801, 32cmX36cm, Paper ink, 2019

巧云的作品,看似单调笨拙的演绎却体现了她的敏感和深刻。她能从生存环境的转换和时代的变迁中悟出常人不能体验到的东西,所以才能在自己的艺术中不断提供新的感觉,寻找到新的语言模式,这是她自由的心性决定的,而这种遵循潜意识的需求不受任何束缚的创作态度,是每一个做艺术的人都应该追求的境界。

The simple and dull appearance of Qiao Yun's work reflects her sensitivity and profoundness. She can perceive the transformation of the living environment and the change of time which ordinary people cannot experience. Therefore she is able to continuously provide new senses in her art, and seeking new modes of language as demanded by her freedom of heart. The need to follow one's subconscious and the unrestrained altitude for art creation is what every artist should achieve.

艺术有趣的地方就在于它的多义性、不可定义性和可变性,我喜欢巧云的画,但如果说我对她还有什么建议和期待的话,我希望她的画以后慢慢再少一点严肃,少一点一丝不苟的认真,再多一点轻松和好玩,那也许会是她的另一个境界,当然这也可能只是我的误判和错觉。

Art is interesting becomes of its ambiguity, indefinability, and variability. I like Qiao Yun's painting, and if there’s more expectation from me, I would wish that her paintings are less serious, less discreet, more ease and fun. That would perhaps be another level of her, or it could simply be my misjudgment.

不管怎样,巧云一定会依照自己心灵的指引,继续往前走下去。

Anyway, Qiao Yun will continue to follow the guidance of her heart.

陈雷 Chen Lei
     2019.9.28 北京 Beijing

陈雷 | Chen Lei

1969年,生于湖南长沙

1990年,毕业于中国湖南长沙理工大学美术系,一直致力于中国现代艺术思潮的推广和实践,是80年代末90年代初湖南“新形象”艺术运动的代表人物

1992年,“中国广州-首届九十年代艺术双年展”上获优秀奖。

1999年,赴美国学习工作数年

2007年,开始定居于北京。

In 1969, Born in Changsha, Hunan.

In 1990, he graduated from the Department of Fine Arts, Changsha University of Technology, Hunan Province. He has been devoting himself to the promotion and practice of Chinese modern art trend. He is the representative of Hunan New Image Art Movement in the late 1980s and early 1990s.

In 1992, "Guangzhou, China - First Art Biennale of the 1990s" won the Excellence Award.

In 1999, went to the United States to study and work for several years.

In 2007, they began to settle in Beijing.

作品并被《中国现代美术全集-素描卷》、《中国当代艺术史1990-1999》(吕澎 著)、《中国当代美术1979-1999·油画》(范迪安 编)、《20世纪中国艺术史》(吕澎 著)等艺术史文献记载。

His works are also recorded in the works of Complete Works of Modern Chinese Art - Sketch Volume, History of Contemporary Chinese Art 1990-1999 (Lu Peng's works), Oil Painting of Contemporary Chinese Art 1979-1999 (compiled by Fan Dean), and History of Chinese Art in the 20th Century (Lu Peng's works).

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