艺术家王野夫工作室屋顶，无不散发着“野夫”式的构图

那时，旷达的沙漠、神秘的古城、荒芜的烽燧、宽广的牧场，在搭乘火车经过的“丝绸之路”上源起的创作灵感；彼时，岭南温润的气候，包豪斯建筑工作室内的创作过程与结果。“可”见非一般，一起来看看艺术家刘可谈野夫的创作。

艺术家王野夫与刘可在展览现场

12年前，我坐火车硬座从西安开往乌鲁木齐，靠窗而坐，一路看着窗外不断延伸的戈壁，到深夜等待黎明，偶尔看到远远的方屋子里透出的光芒，还有跟随在列车旁汽车发出的光柱，一闪念：应该用怎样的手法来表现这种感觉？

3年前，看到这几件我先称为“野夫前期作品”的绘图笔画的时候，觉得那种感觉应该就是这样的。

30年前野夫的西安美院毕业创作叫“地平线那边”，根据他的说法这件作品一直画到现在，不管他在怎样的生活状态，随身携带建筑绘画笔在水彩本上图绘的方式一直伴随他。除了戈壁的“深远”感外，由于他读书时专业是设计，一位日本籍的教师给予他对作品要求“极致/精致”的影响，这两种影响在他作品中地平线位置体现得特别明显：地平线是确定的，地平线上下两边无限的对着地平线向远推进，地平线成为了无数“灭点”的平行。野夫在这根线上不断纠结的徘徊，线是交界，又是两个面的融合区域。

1年半前，野夫在他的巨幅绘画笔画的第三张时，清晰的地平线突然没有了，一直被分割的画面突然变成一个整体，之前被压抑在地平线两边的平面被解放出来，一个有限厚度的层次变成一个可以平行流动的场域。之后野夫借势改变了工具，用石墨铅笔替换了建筑绘画笔，用石墨笔触间的互溶取代了之前笔触间的尖锐。从细微的局部上消解了“地平线”，从而也解决了一直存在野夫观念里的“设计性绘画”问题。

半年前，野夫已经在我称为的“野夫现在期作品”中傲游了一年，野夫在这些作品里充分的运用石墨铅笔在水彩纸上涂抹产生的层面、转折、反光营造了一个在静谧的黑暗中，充满激动挥舞但无声的剧场。我们在这时候想出我们创作的界定：“是，抽象”，不从中国传统艺术渊源往现在推，也不从西方现代主义以来的逻辑推过来，我们反过来，我们具体的创作就是“是”，是本身，“抽象”可以反推至中国传统，也可以推向现代。但它只是现象研究的推演结果。

现在，野夫是“是”…

刘可

2017年1月

艺术家王野夫工作室一角

Yes, Yefu

Twelve years ago, I was travelling on a train in second class from Xi’an to Urumqi, gazing along the way at the endless Gobi desert through the windowpane. Deep in the night, before dawn, I saw in the distance the dim light of houses, as well as the beams of car lights following the train, and a thought occurred to me: what method should one use to express this kind of feeling?

Three years ago, as I was looking at some drawings that I will call “Early Yefu’s works”, I found that this was exactly how this kind of feeling ought to be expressed.

Thirty years ago, the work done by Yefu for his graduation from the Xi’an fine arts institute was entitled “Over there by the horizon”, a painting that according to him he has never ceased to paint to this day; whatever the circumstances, he always carries along with him a watercolor note book and some architect’s marker pens to draw things. In addition to his Gobi “deep distance” feel, and the influence of a Japanese professor in college – where he majored in design – who gave him the habit of demanding “extreme refinement” for his works, these two factors are most apparent in the way he places the horizon line in his works: it is definite; the infinite spaces above and under it are pushed on to the distance; it becomes parallel to a myriad of “vanishing points”. Yefu never ceases to tangle to and fro around this line, which is a junction and a merging of two areas.

One and half year ago, as Ye Fu was painting the third canvas of his huge painting, the horizon line disappeared; the pictures that were always divided by it became whole, and what was before constrained on one or the other side of the line was now liberated; a limited thick layer became a territory where parallel movements were possible. Later on Yefu took the opportunity of changing tools, using graphite pencils instead of architect marker pens, replacing the sharpness of the latter with the fusion of the former. The “horizon line” was thus blurred from subtle parts of the picture, thereby addressing the concept of the longstanding issue of the “designer painting” style of his art.

Six months ago, Ye Fu had been roaming on what I call his “Present works” for a year, making use in all these works of graphite pencils upon watercolor paper, producing layers, turning points, light reflection to create a very still darkness for an excitedly flourishing silent theater. At that time we thought up our definition of his creations: “Yes, abstract.” They are not something originating in Chinese traditional art propped into modernity, they do not stem either form the logic of Western modernism, on the contrary, the concrete creations are a “yes”, intrinsically, the “abstraction” can be seen as a move back to Chinese tradition as well as one towards modernity. But it is just the result of the deductions of the research on the phenomenon.

Now, Ye Fu is “Yes”…

Liu Ke, January 2017.

艺术家刘可与友人在展现场