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蓦然回首 别样美丽 —读罗奇近年画作 杨维民

已有 805 次阅读  2013-10-22 18:09   标签style  蓦然回首  杨维民 

蓦然回首   别样美丽

—读罗奇近年画作

杨维民

2008新春于京城嘉园

 

罗奇是个善于思考而极有想法并能立刻付出实施的画家,他难能可贵的是在进行独立思考并将自己的想法通过艺术作品表现的同时,仍坚持进行理论上的研究和文字上的阐释。将他的油画作品和这些文字资料汇总在一起,可以很清晰地看出近五六年来他在创作方向和艺术追求等方面的成长轨道。从2002年的充满表现主义风格的《关于食者的第一百零一种说法》,饱含激情和冲动的画面让人仿佛能够感觉到那种湖南人特有的气质;再到2004年的几幅以行走或寻找为主题的“迷失”期作品,将目光放在了当代甚至古代国人的“苦闷”与“迷茫”,恐怕更多的也是对画家自身状态的解剖。近年来,罗奇的作品画面开始出现调整,从将更多的注意放在表现力和冲击力转向了更“中国化”、“平面化”、“纯粹化”的创作手法;与此同时,罗奇作品的主题和基调却发生了巨大的变化—开始将创作对象锁定在“当代生活中的那种不起眼的小人物”,那种几乎一无所有,“仅仅是活着”的市井小民,画面的整体气氛在谈谈的灰色调笼罩下更趋向于平庸、冷静。造就这种转变的原因是值得玩味的。

“为什么呢?”有的批评家认为这和画家所在的生活环境转变是有很大关系的,在广州美院任教的罗奇随着学院搬迁至偏远的郊区,远离繁华到让人紧张的广州市区,他的心境肯定会发生或多或少的变化。但我认为更为重要的还是罗奇经历几年的“迷茫“和”寻觅“之后,对艺术的理解更加成熟,对于东西方文化差异与冲突的认识更加深入,画家自身的心态也从焦虑趋向平和。

在内外因的双重作用下,在平和散淡的画面下,画家开始更多地表现或者说“宣告”一种态度及立场。对于国内美术圈盛行的将西方审美观念视为最高标准的风气,他称之为“艺术的霸权”,以一种颇有“艺术民族主义”的姿态,要走出一条新的路线。但不可回避的悖论是,他不得不采用来自西方的艺术形式来进行这种“去西方化”的努力。也正是出于此,前文提到的罗奇在作品画面上进行的调整是有着相当重要的意义的。他开始勇敢地抛弃一些在多年的学习和创作生涯中一直被看做天经地义的教条,这对于一直以来都充满着学院派气息的罗奇来说也是难能可贵的。画面体积感的压缩,越来越简化的图式,平涂到纯粹至极的背景,由于这些新鲜的元素加入,罗奇的画立即有了很独特的气质,用他自己的话来说就是“在技法层面上用西方手法来画中国画”。

如今,罗奇的这种对西方价值观念和审美观念的“非暴力不合作态度”被批评家冠以“软现实主义”的称号。“软现实主义”被定义为“不批判、不评价、不回避、不逃避、不破坏”的主义,本文暂且不讨论此种概念的界定是否“不正确”,此主义的“不置可否”与“莫衷一是”的态度倒是和罗奇近作中所描绘的人物的精神状态有切合之处。此种“软现实主义“的概念在远离政治中心并有发达的经济条件的广州及中国南方沿海都市艺术圈更容易被接受,但应该也有着一定的地域局限性。

关于罗奇的这次转型,一些批评家认为其“完成了油画内在精神从西方转向中国本土的过程”,我认为现在如何定义“完成”的标准是一个很难的问题,仅仅将绘画手法的转变就说是内在精神的转变过于草率。其次,我也相信现在的罗奇正是转变和发展过程中的罗奇。如他自己的一篇文章所说,绘画要经历三个步骤:与他人较劲,与自己较劲,再到与画面安静详和地平等交流。文末他问自己:“而我?究竟在与谁较劲?”不管此时的罗奇是否找到了答案,但他现在寻觅的方向是不会错的。正如他的一幅近作的名字一样—《亲爱的,我带你去看那片麦地》,我们相信他会带我们看到更多的别样美丽。Looking Back to Find Different Beauty

--Remarks on Luo Qi’s paintings in recent years

By Yang Weimin

 

Jiayuan Garden of Beijing

The New Year of 2008

 

Luo Qi is a reflective and thoughtful painter who can immediately put his ideas into practice. It is praiseworthy that he manages to insist on theoretical studies and literal interpretation while thinking independently and presenting his thoughts by artistic works. Collecting his oil paintings and literal materials, we can clearly see his growth paths in the late five to six years in the aspects of creating works and pursuing art. From “The 101st Saying about the Eater” filled with expressionism in 2002, it seems that we can feel the unique quality of people in Hunan Province from the passionate and impulsive scene. In several pieces of works on subjects of walking and searching in the “lost” period in 2004, he focuses on the “anguish” and “confusion” of Chinese people nowadays even in the ancients. However, I am afraid that it is to reveal his situation. In recent years, Luo Qi has adjusted the scenes of his paintings. His attention has been changed from expression and impact to a more “Chinese”, “flat” and “pure” creative approach. At the same time, the subjects and tone of Luo Qi’s works have been greatly changed. At the beginning, he painted “the contemporary humble people” who are grass roots with nothing and “are just alive”. The overall atmosphere of the scene tends to be more mediocre and calm in the shadow of a light gray tone. What has contributed to such a change is worth pondering.

“Why?” Some critics consider the change is closely linked with the change in his current living environment. Luo Qi, who teaches in Guangzhou Academy of Fine Arts, has moved to a remote rural area as the Academy is relocated. Getting away from the roaring Guangzhou Downtown that makes one nervous, he surely has somewhat changed his mind. However, I think the most important thing is Luo Qi has a more mature understanding of art and profound understanding of the cultural differences between the East and the West after experiencing years of “confusion” and “searching”, so he tends to be peaceful instead of anxious.

Under the effects of internal and external causes, he begins to express or “declare” his attitude and stand by peaceful and idle paintings. For Luo Qi, the prevailing fashion which regards Western aesthetic standards as the highest standard in domestic artistic circle is “artistic hegemony”. He wants to create a new route by “artistic nationalism”. However, the inevitable paradox is that he has to make efforts to “eliminate the Western style” by Western art forms. To such an extent, the said change in his paintings is of great significance. He bravely abandons some creeds which are regarded as unalterable principles during his years of study and painting, which is praiseworthy for Luo Qi who has been filled with academic atmosphere. Owing to some new elements, such as the reduced volume, increasingly simplified schema and simplest and purest background, his paintings are of a unique temperament, which, in his own words, is “painting Chinese paintings with Western skills”.

Today, Luo Qi’s “non violence and non cooperation” towards Western values and aesthetic concept have been titled as “Soft Realism” by critics. “Soft Realism” has been defined as “non-criticism, non-evaluation, non-dodge, non-escape and non destroying”. Whether such a definition is “incorrect” won’t be discussed in this article. However, the “noncommittal” and “divergent” attitude of Soft Realism fits in with the mental state of the characters that depicted in his late paintings. The concept of “Soft Realism” is more likely accepted in artistic circles like Guangzhou, which is away from the political center and economically developed, and the southern coastal cities of China. However, it should be of certain geographical limitations.

Speaking of Luo Qi’s change, some critics believe that he has “changed the Western inner spirit of oil paintings to the domestic one”. I think it is difficult to judge whether he has successfully done so. It is too reckless to equate the change in one’s painting technique with the change of his inner spirit. In addition, I also believe that Luo Qi at present is changing and developing himself. As he mentioned in one of his articles, to paint has to go through three procedures, namely, competing with others, competing with oneself and quietly communicating with the painting on an equal footing. At the end of the article, he asked himself, “With whom am I exactly competing?” No matter whether Luo Qi has found the answer, the direction which he is searching for won’t be wrong. Like the name of his recent work, “Honey, I’ll Show You That Wheat Field”, we believe that he will show us more different beauty. 

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