——傅榆翔作品展序

                                     王  林

 

     中国人承天人合一的传统，从古至今，就有世事不平、仰天长啸的习惯。屈原《天问》中的许多问题，其实都是人间而不是天庭的事儿。傅榆翔姓名中带个“翔”字，大约也是父母让他向往天空的意思。

读了老傅近期的一批作品，感到我们的确生活在既定知识型构和文化心理之中，艺术意义的发生恐怕也只能浸渍其内并超乎其外，而内外连接的焦点，我以为，乃是当代艺术中的问题意识。

     傅榆翔有感于人对自然的侵犯、人对动物的伤害和天人关系中人的问题，画了一大批主要是动物形象的作品。除个别作品中我们可以见到剥光、剖开的禽鸟外，他并不刻意去渲染虐杀动物的血腥。相反，笔下的动物和人物往往有着同样的地位：长着天使的翅膀，穿著宇航服踩着跟斗云等等。无论是惊悚、扭曲的动态，还是安详、愉快的表情，傅榆翔几乎都在细节上作了特殊处理，或者是人禽之间的想像组合，或者是不同动物的异常交配，或者是飞行器、潜水器和对象的冲突对立。看得出来，画家想增加画面内容的可读性，为观者提供一个入口，由此进入对画面本身的体会。

     傅榆翔以单色的黑白渐变作为主要绘画语言，较之过去的作品更纯粹也更到位。其晕染皴擦的模糊感，为画面带来了协调、统一而又与众不同的韵味，可以说是水墨浸润效果的异质运用。这种材料转换给观者带来“出位之思”的视觉感受，是令人陌生而惊奇的。在浓淡深浅、斑驳含混的变化之中，傅榆翔取得了绘制过程的某种自由，画面的形成因自然而流畅，因自如而生动，不再仅仅是题材联想与意构组合的结果。或者说，傅榆翔在经历多年探索、磨砺之后，已育成个人绘画语言的生长性。这对于任何一个画家来说，都是困难重重而又难以捉摸的。

     在今天，人和自然的关系的确令人疑虑。宇宙探索也好，基因转移也好，我们都不知道会造成怎样的后果。也许我们可以象绿党那样付诸行动，外肆于社会，但也可能象老傅这样充满感伤，萦绕于心灵。这种情感倾向通过绘制的言说弥漫整个画面，既是观念也是形式，既是当下的也是异在的。在当代绘画中，现实主义描绘之所以难有作为，原因是从题材到意义的通道，已被过去时的惯性意识形态所填塞。艺术必须以异质、异样和对异化再异化的方式才能除蒙去蔽，真正在场，才能进入现在时态的文化语境。所以绘画依然不仅是画什么而且是怎么画的问题。对老傅而言，把地上的问题写在天上，是一个很好的开端。不管天空有无回声，人在大地上肯定会有所反应。这种反应异在于既定知识型构和文化心理，启发人的主动性精神，使之在艺术对现实的挑衅、挑逗和挑战中有所省悟、有所推进、有所更新。

      有感于老傅之新作，写了如上的话。

      是为序。

 

                                         2008年2月24日

                                         四川美院桃花山侧

 

 

 

                ——Preface for exhibition by Fu Yuxiang

                                         Wang Lin

 

The Chinese receives the tradition of harmony between man and nature; throughout history they have the habit of “the world is uneven and howl to heaven”. “Ask the heaven”—a literature by Qu Yuan, many questions in it are actually human thing rather than Heaven. There is a character “Xiang” which means “fly” in his name Fu Yuxiang, probably is also the meaning that his parents let him yearn for the sky.

 

After reading a recent batch of Lao Fu’s works, I feel we are indeed living in an established knowledge construction and the cultural psychology, the significance of art can only occur within and beyond it, and the focus of internal and external connections, I think, is the question awareness of contemporary art.

 

Responding to the infringe that man to nature, the harm that man to the animals and the man problem in the relation between man and heaven, Fu Yuxiang has drawn a large number of works that of the main image are animals. Besides the individual work in which we can see stripped, ripped birds, he did not deliberately exaggerate to the bloody animal mutilations. On the contrary, the writing animals and people often have the same status: with wings of angel, wearing spacesuits walking on tumble cloud and so on. Regardless horror twisted dynamic, or quiet pleasant expression, Fu Yu Xiang made special treatment in almost all the details, imagine combination between people and birds, or abnormal mating between different animals, or confrontation and conflict between aircraft diving instrument and objects. It could be seen that the artist wants to increase the readability of the picture contents, provide an entrance for audience, which entered the experience of the picture its own.

 

Fu Yuxiang takes the major drawing language by the gradual change of monochrome black-and-white; these works are more pure and in place compared with his past works. Its fuzzy sense of wiping smudging or bleeding brought the coordination harmonization and distinctive flavor for the picture, it can be said that it is the heterogeneity use for the effect of ink infiltration. This material conversion brought audience a visual experience of "out-of thinking", it is strange and surprising. During in the shade depth mottled ambiguous changes, Fu Yuxiang obtained a certain freedom during the process of drawing, the picture is smooth and vivid because it is natural and free, it is no longer merely the results of subject association and impression combination. Or, after many years of research and experience, Fu Yu Xiang has bred his personal growth of painting language. To any one of artists this is difficult and elusive.

 

Today, the relationship between human and nature is indeed our doubts. Explore the universe or gene transfer, we do not know what the consequences will result. Maybe we can put into action as the Green Party did, outside society, but we may also be such as Lao Fu be sentimental, lingering in mind. Such emotional tendencies, through the rendering of drawing, diffuse the whole picture, it is not only the concept but also the form, not only present but also different. In contemporary painting area, the reason that realist art is difficult to have the achievement is that, the access from subject to the significance has been walled up by the past inertia ideologies. Art must be different, strange and further alienation to alienation, only in this way can it be kept apart from the dark, really be at presence, and enter the cultural context of present tense. So painting is not only the problem what to paint in picture but how to paint it. To Lao Fu, write the issue on ground in the sky, is a good start. No matter whether there is answer from the sky or not, people on earth would certainly have the response. This response is different from the established knowledge construction and the cultural psychology, and enlightens the initiative spirit; in the provocation, provocative and challenges between art and reality, it makes them be aware, in advance and to update.

 

Responding to recent works of Lao Fu, I wrote the words above as the preface.

 

 

 

February 24, 2008

Sichuan Fine Arts Institute Peach blossom hillside