搜索
标题摘要内容
笔墨人生
媒体文章
原道-香港艺术馆策展人语
来源:
|
作者:lishinanart
|
发布时间: 2015-05-06
|
1519 次浏览
|
分享到:
文/皮道坚
（引自《原道-中国当代艺术的新概念》艺术展中策展人撰文）李世南数年来致力于大写意泼墨、泼彩人物画的探索创作。他坚信中国画的“写意”力量，试图借此综合“西方的”或“现代的”艺术语言，他常把山水、花卉，甚至人物的“结构”拆散，并从中寻找形式，依靠写意的笔墨语言和中国画的写意精神，把这些“结构”重新收拢于画面，并试图做到符合中国画传统的“了无痕迹”。这种通过艺术在精神上重返传统文化的尝试却有意无意地凸现了其与往昔之间的陌生与疏离：这是包括画家自己在内的当代人身在都市却向往山林的强烈欲望与其久在樊笼里不得返自然的窘迫境况之间的分裂。艺术家在《山居系列》的创作笔记中自述：“身在都市，却向往山林。也许人的本质就是逃避。逃遁山林，隐逸山水...... 但对于现实中的我们，那只是一个虚幻的梦。于是放逐。自我放逐。内心的疏离是为了守住一份人的尊严。我想到了“山居”。那么诗意的名词。却如今又多么具有讽刺的意味。于是，所有的人在我的笔下都恍如现代舞中的光头、赤足、长袍。模糊了时代的特征和性别。空洞双眼的面具，既是表现，又是遮蔽。人，其实只是一个符号，一个精神的符号。”
（引自《原道-中国当代艺术的新概念》艺术展中策展人撰文）李世南数年来致力于大写意泼墨、泼彩人物画的探索创作。他坚信中国画的“写意”力量，试图借此综合“西方的”或“现代的”艺术语言，他常把山水、花卉，甚至人物的“结构”拆散，并从中寻找形式，依靠写意的笔墨语言和中国画的写意精神，把这些“结构”重新收拢于画面，并试图做到符合中国画传统的“了无痕迹”。这种通过艺术在精神上重返传统文化的尝试却有意无意地凸现了其与往昔之间的陌生与疏离：这是包括画家自己在内的当代人身在都市却向往山林的强烈欲望与其久在樊笼里不得返自然的窘迫境况之间的分裂。艺术家在《山居系列》的创作笔记中自述：“身在都市，却向往山林。也许人的本质就是逃避。逃遁山林，隐逸山水...... 但对于现实中的我们，那只是一个虚幻的梦。于是放逐。自我放逐。内心的疏离是为了守住一份人的尊严。我想到了“山居”。那么诗意的名词。却如今又多么具有讽刺的意味。于是，所有的人在我的笔下都恍如现代舞中的光头、赤足、长袍。模糊了时代的特征和性别。空洞双眼的面具，既是表现，又是遮蔽。人，其实只是一个符号，一个精神的符号。”
Having the faith in the power of Xie Yi, the freehand style of an outstanding school in traditional Chinese painting, Li Shinan has devoted himself to freehand figure painting with splash-ink and splash-color manner for decades, with which combining the western or modern artistic language. He tends to look for forms from the unraveled the structures of landscape, flowers and figures, which will later be rearranged by the freehand spirit and brush-and-ink language, for the purpose of achieving the “no trace” state, the essence in Chinese traditional culture spiritually accents the alienation and separation from the past; this is a sort of split between the strong desires of the contemporary, including the painter himself, living in cities yet longing for retreating to mountains and the fact that they are trapped in cages for a long time thus can never return to nature. Li wrote in this note of the Mountains：“perhaps people tend to escape, so they are living in metropolis yet longing for mountain. However, for us living in reality, to escape is only a dream. Hence we decide to self-exile for defending the human dignity. Consequently, the phrase ’life in the mountians’ came into my mind. What a poetic but ironic phrase! As a result, I obscured the characteristic of times and genders. It seems that all the figures are dancing with bald heads, bared feet and in robes. The masks cover their whole faces expect eyes; surfaces could be hidden while emotions flow. As a matter of fact, human is actually a symbol, a spiritual symbol. The emotion of human is that of mountain”
（原道-中国当代艺术的新概念2013.05.17）
版权所有 2008-2015李世南艺术馆 京ICP备11021292号-6 京ICP备11021292号-22
技术支持与相关链接 北京盛世和鸣文化传播有限公司