抒情的幻想,意象的隐喻 ——试解黄海燕作品

抒情的幻想,意象的隐喻 ——试解黄海燕作品

抒情的幻想,意象的隐喻 ——试解黄海燕作品

日期:2015-05-05 11:05:56 来源:
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名家 >抒情的幻想,意象的隐喻 ——试解黄海燕作品

  自80年代末以来,都市题材一直成为青年艺术家关注和表现的对象,都市题材在呈现当代都市人的生存状态的同时,又展示当代的社会和文化问题。艺术家在作品中主要描绘和表达的对象或是自己,或是与其身份相类似的都市青年的生活状态和人生态度。他们作为都市生活的实践者,同时也是观察者和反思者,这种互动关系使其具有了双重身份。正因如此,艺术家与之所表达的对象之间建立的是一种互为对象的平等关系,强调的是描绘者与被描绘者的关系,他们在会心的微笑中平等交流。从理论上说,这种民主态度、平民身份以及平等关系的艺术探索是有积极意义的。
  生于70年代初的黄海燕就是以都市青年及其生活状态作为表现对象的艺术家,而且主要表现的是都市女性题材。在艺术中对女性的表达历来是重要的题材。题材可以以性别分类,至于太强调艺术家的性别问题我倒以为大可不必,艺术家创作期间,创作元素与材料的预先设定与超越的观念表达,性别的因素始终是不在场的。所以,对艺术家的讨论不要局限在“性别”这个方面,我认为跨越性别才能有所发展。黄海燕在对女性的表达上是客观和理性的。既站在社会学的层面来反映女性,同时又遵循着艺术对女性的认知与理解来表现女性。在他的作品里,女性被置于一个特殊的双重结构中:社会与女性、自然与女性共存。
  就社会学层面而言,艺术家的身份不仅是形式的创造者,还是一个社会问题的评论家。传统的现实主义也具有社会评论的功能,不同的是它隐藏了艺术家的身份,而后现代主义的社会评论则是艺术家在前面对社会问题直接评论,突出个人身份,在现代主义的基础上,将自我寓于形式的创造中体现出来,并以鲜明的个人话语来表现一种强烈的社会意识。黄海燕站在当代都市青年的立场审视社会,与他自身的文化身份在艺术中具有了一种相互限定、相互阐释的内在相关性和同一性,因而也使得他的作品具有了特定的社会学意义。上世纪末以来,市民社会为中国社会打开了新的生活空间,日常生活获得了相对自主、自由的范围,都市青年与艺术家也进入了独立思考、以普通生活方式与艺术方式表达他们的社会和艺术态度的时期。他们的都市生活具有了消费文化的某些特征:轻松、休闲、有趣、好玩、逍遥,也有一些迷茫与嘲讽。毫无疑问,黄海燕的作品中都市女性都有一个鲜明的特点,那就是她们同时充当多重角色,有多个观察角度,她们既美丽、青春、纯净、高洁,也时尚、孤傲、落寞、含蓄、典雅。画中只有明确的形象,却没有明确的事件,人物的存在并不是要说明画中人具体的活动,而是透过这些形象来反映一种都市青年的精神状况。
  另一方面,黄海燕又将对女性的认知与理解转向了自然审美。审美形式就像迷人的风景使艺术家乐此不彼。当代艺术的特征就在于艺术的多元性与自身本体语言的形式化倾向。艺术家关注表现技法的个人化图式的符号性,而这种符号性必须符合艺术家对自己生活状态的理解以及个人的审美力。在对当下的体验与思考,对艺术形式的探索中,黄海燕逐渐建构了自己的精神图式。他的代表性作品《情绪与状态》具有一种综合性,包涵了多重意义形态的成分,这使得他的作品从根本上脱离了传统方式的直观与对应,而呈现出模糊的、朦胧的,难以释解的幻象。他特别注意提炼形式的迷离感,看似分割却并置一体的几块狭长画面分别塑造出形态各异的多个女性形象;在构图上,采用具有浓厚装饰意味的手法,在表现技法上,力求化繁为简,以平涂的艺术手法达到对人物心灵的透视,在色彩上有意弱化层次对比,于和谐微妙的色调中寻找色彩的冷暖、虚实的缥缈与诡谲。同时,也弱化了人物的立体感和空间感,适度的夸张与变形,圆弧线与形的大量使用似乎是在勾勒人的灵魂而不是实体,从而使作品具有了一种意象的隐喻性。另一幅《侧面》则将色彩纯化到极致,明亮的黄色调闪烁耀眼,两个女孩的头像巧妙叠加,五官虚化模糊,脸部侧面加强弧度,飘柔的几缕头发变为跳动的音符,这是似真似幻的“心中之象”,神秘如梦,无以名状,让人完全沉浸在梦幻的光彩中。
  黄海燕在描绘时是谨小慎微的,整体的色彩、精微的轮廓与神秘的构成形式,使得这些女性不可思议,琢磨不透,象闪烁的星辰灿烂辉煌,他用丰富的幻想和诗意的语言来诠释可感知的实体。我们无法用准确的语言来描述画中的人物,但某些东西是存在于作品之外的,具体真实,并随着不断的深入解读变得更为明显。正如画家在自述中所言:“画最可贵的是在凝冻的画面之外的那些漂浮的生命。”
  我不由地想起艾尔伯特 贾克梅蒂说的一段话:“真实仿佛躲在一层薄雾后面,扯去一层,又有一层,一层又一层,真实永远在隔着一层薄雾的后面。然而我们似乎每天接近一步。就为这缘故,我行动起来,不停息地,似乎最后我终能把握到生命的核心。”
  海燕,行动起来,不停息地,最后我们终能把握生命的核心。

  文/陈立红
  陈立红 中国艺术研究院 硕士

  Institute
  Lyric Imagination and Metaphor of Images
  -------deconstructing Huang Haiyan’s works

  From the end of the 1980s, metropolitan subject has been being the object of the young artists, which not only presents the living state of the metropolitan residents but also presents the recent social and cultural problems. In their works, the artists mainly describe the living state and attitude of themselves or other metropolitan youths similar with them. Thy are the people who practice the life and at the same time, they are the observers and thinkers, which makes them to have double-identity, so the artists establish some kinds of equal relationship between the objects expressed and themselves, emphasizing the relationship between the describer and the described. From the side of the theory, the democratic attitude, common identity and equal relationship play an active role in the exploration of art.
  Huang, born at the beginning of the 1970s takes the metropolitan youths and their lives as his subject and he mainly focuses on the woman theme. Woman is always the theme of art and the themes can be classified by sex. But I don't think we should pay too much attention to the sex of artists because when the artists create their works they don’t consider their factor in select materials, so in my opinion, if we hope a further development, we must surpass the factor of sexual Distinction. In Huang’s works, he expresses the woman from the objective and rational point, the woman put into a special double-structure: society and woman, woman and nature co-exist with each other.
  From the point of sociology, artists are not only the creators of forms but also artists of the social problems. The traditional realism also performs the function of criticizing but the difference is that it hides the identity of artists, however, the past-realism push the artists to the frontline to criticize the social problems, and push them to a prominent position to express their strong sense towards the society. Huang contemplates the society from the view of the contemporary youths, which entitles a special sociological meaning to his works. From the end of the last century, civilian society open a new living space for Chinese society, daily life getting a relative free room which makes the youths and artists start to consider individually about the common living patterns and art forms. Their urban life adopts some characteristics of consuming culture: relaxed, interesting, free and confused VS. irony. No doubt, the women in Huang’s works have a distinctive character: that is they play plural-role at the same time and from different point of view, they not only show their beauty, pure elegant but also their fashionable proud, lonely, and reserved.
  On the other hand, Huang understands the women from the point of nature aesthetics. The influence of contemporary art is its ploybasic and ontological trend. In his experience and exploration of art forms, Huang gradually constructs his own spiritual pattern. His famous works Emotion and State includes component of poly-sense which make his works break away from the traditional forms---objective and corresponding but to show the vague illegible images. He pays special attention to abstract the sense of mist, in organization of pictures using the method with strong decorative sense in skills, turning complication to brief, in colours weakening the contrast between gradation levels, meanwhile weakening the three-dimensional effect and space perception of the figures which give the works a sense of metaphor. The other picture Flank purifies the colours to an extreme degree---light yellow glittering, heads of two girls repeating together skillfully, facial features being vague, wisps of soft hair swaying which is so mysterious that people are lost in its brilliance of illusion.
  Huang Haiyan carefully depicts, with general colours, exquisite outline and mysterious form, making these women inconceivable, incredible. He used his rich imagination and language to present the perceptible objects. As he said in his autobiography,” The most valuable point of the picture is the floating lives existing outside of the pictures”.
  I could not help thinking of the words by Albert Jekmidy, “True, as if it is hiding behind a layer of mist, and you tear of a layer, there’s another layer, layer after layer, the true forever separated by a layer of mist behind. However, it appears that we each step closer days. For this reason, I swing into action to keep interest rates, it seems that finally, I managed to grasp the core of life. "
  Haiyan, come on! Eventually we can hold the kernel of the life.
  Chen Lihong, master of Chinese Art

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