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毛焰:我为什么要画这些圆和光?


 2020 MAO YAN 
我为什么要画这些圆和光?
Why do I draw these circles and lights?


编辑 · EDIT / ©RoSAN
文章 · ARTICLE / ©Han Dong

艺术家 · ARTIST / ©Mao Yan

发行推广 · LSSUANCE OF PROMOTION / ©AnArtSpace




如果说心丹以其密度代表实有,光体则以其指向代表空无。心丹因其体积感代表空间,光体则因其闪烁代表时间。这是一个时空或者虚实相间形成的维度构造,双方都无法脱离对方。一虚一实,一明一暗,一个是封闭之圆,一个是一条穿越之路……二者之间的关系显然强于它们分别和所绘形象之间的关系。似乎毛焰给自己所画的画增添了一个景深,就像是画框。但这画框却不是现实中一幅画的画框,也不是在画面上再画一个具象的画框,比那样做更为神秘和深远。我认为,心丹和光体媾合所形成的那个东西只能用维度加以说明。


 

毛焰·《无题》No.11,34.3cmX52cm,宣纸、水墨、水彩颜料,2018年—2019年



 Mao Yan & Han Dong 

【 毛焰的删减和增加 】


文/韩东


我们有必要关注艺术家减去了一些什么,同样,也极为重要的,关注他在删减之后的有所增加。在这一减一加中将透露艺术家深入其工作的程度,以及所抵达的十分不同的境地。可以说艺术的奥秘就在左近。
We need to pay attention to what the artist subtracts, and, crucially, to what he adds after the deletion. This minus one will reveal the extent to which artists have penetrated into their work, and the very different places they have reached. It can be said that the mystery of art is close at hand.





从某种意义说,艺术家的工作就是删减一些东西和增加一些东西。这么说自然有语境,比如毛焰的托马斯系列。
In a sense, an artist's job is to cut something and add something. There is a context to this, such as Mao Yan's Thomas series.

©Mao Yan’s work, Portrait of Thomas, Oil on Canvas


二十年前开始的托马斯系列让我们见识了毛焰可怕的删减,可以开一个清单:主题、情节、背景、服饰……所有具有社会学指向透露具体生活的信息都被省略了,画面只余形象,一张人脸或者加上不构成特殊意义的姿态。

The Thomas collection, which began 20 years ago, gives us a look at Mao Yan's terrible cuts. All information that has sociological implications for revealing a specific life is omitted, leaving only an image, a face or a gesture that does not constitute a special meaning.


©Mao Yan, Small Portrait of Thomas No.4, Oil on canvas, 36 x 27.8cm, 2014


作为一个中国艺术家,毛焰还从形象中特意删减了“中国”,模特是一个欧洲白人。但他是在画欧洲白人吗?如果毛焰只画了一张或几张托马斯,那就应该是了,但如果二十年如一日只画这个欧洲白人,那所画就不可能是具体的某一个人。不是欧洲白人,也不是托马斯,如这一系列的命名所示,画的是“托马斯系列”,其中的托马斯只是徒具人形而已,只是一个抽象的面孔。甚至是否是人脸的抽象都没甚关系,只是一个符号。但,画面上的形象又那么的实实在在,具体而微。

As a Chinese artist, Mao Yan also deliberately omitted "China" from his image, modeling a white European. But is he painting white europeans? If Mao Yan had only drawn one or a few Thomas, it would have been, but if he had only painted this white European for twenty years, it could not have been a specific person. It's not a white European, it's not a Thomas, as the name of the series suggests, it's a "Thomas series," in which Thomas is just a human figure, just an abstract face. It doesn't even matter if it's an abstraction of a face, it's just a symbol. However, the image on the picture is so real and concrete.


©Mao Yan’s work, Portrait of Thomas, Oil on Canvas


通过删减,毛焰达成了一种我称之为“具体的抽象”的东西。尚扬曾说,像毛焰这样以绘画语言(在这里就是形象语言)而达成抽象的艺术家极为罕见,因其不可能。抽象,在形成具象以前可以存在(色彩、线、形、体积、明暗等),在形成具象以后形象最可能的归属是象征,而非抽象。以形象而达成抽象者,这里面的冲突和超越冲突的确难以调和,也很难企及,但毛焰做到了。顺便说一句,毛焰还省略了命名。“托马斯系列”是一个总题,为言说的方便,具体到每一幅画,即使有名字也难以让人记住。

By abridging, the wool flame achieves what I call "concrete abstraction." Shang Yang once said that it is rare for an artist like Mao Yan to achieve abstraction through the language of painting (in this case, the language of image) because it is impossible. Abstract, before the formation of concrete can exist (color, line, shape, volume, light and shade, etc.), after the formation of concrete image is the most likely to belong to the symbol, rather than abstract. It is difficult to reconcile the conflict and beyond the conflict, but Mao Yan did it. Mao Yan also omitted naming, by the way. "Thomas series" is a general topic, for the convenience of words, specific to each picture, even if there is a name also difficult to remember.


©Mao Yan’s work, Portrait of Thomas, Oil on Canvas


考虑到毛焰同时是一位和语言文字打交道的诗人,如此处理作品的命名,应该是某种故意的含混或弱化。他还删减了绘画语言之外的文字语言(这和托马斯系列开始之前,比如画我的那张以《我的诗人》命名形成了对照说明)。

Considering that Mao Yan was also a poet who dealt with language and words, this approach to the naming of his works should be a kind of deliberate vagueness or weakening. He also cut out words that were not in the language of the painting (a counterpoint to the one that was titled "my poet" before the Thomas series began, for example).



 毛焰的“托马斯系列”之一 


近二十年来,托马斯系列是毛焰绘画的主体部分。这之外他也画了一些别的,尝试了不同的画法,这里暂且不论——可作为某种“工作之余”的游戏或者闲笔观之。下面要说的毛焰的增加,这一两年来开始的异动不在此列。毛焰开始增加了,有意识地多画了一些东西。

For nearly two decades, the Thomas series has been the main part of Mao Yan's paintings. He also drew something else, tried out different ways of drawing, and left it at that -- as some sort of "after-work" game or something to watch with a pen. The following mentioned increase of the hair flame is not included in the unusual movement that began in the past year or two. The hair flame began to increase, and I made a conscious effort to draw more things.


Mao Yan, Portrait of Thomas - 2016 No.1, 2016, Oil on canvas, 110 cm × 75 cm (43-5/16" × 29-1/2") © Mao Yan


我们有必要关注艺术家减去了一些什么,同样,也极为重要的,关注他在删减之后的有所增加。在这一减一加中将透露艺术家深入其工作的程度,以及所抵达的十分不同的境地。可以说艺术的奥秘就在左近。这不是夸大之言。比如说我是一个写东西的人,对海明威著名的删减就尤其在意。海明威的删减引发了小说叙述意义深远持续至今的革命。但非常可惜,他的增加比较模糊不清。也许,这就是海明威的写作后来难以为继的一个原因吧。我扯远了。

We need to pay attention to what the artist subtracts, and, crucially, to what he adds after the deletion. This minus one will reveal the extent to which artists have penetrated into their work, and the very different places they have reached. It can be said that the mystery of art is close at hand. This is not an exaggeration. For example, as a writer, I am particularly concerned about Hemingway's famous omissions. Hemingway's cuts triggered a revolution in the novel's narrative that continues to this day. Unfortunately, his increase is more ambiguous. Perhaps that was one reason why Hemingway's writing became unsustainable. I digress.


©Mao Yan, Fragments of Portrait No.1, 2018, Oil on canvas, 75 x 55cm



 这一两年来, 
 毛焰在画面上增加了一些什么?


首先是一种相互串连的小球。当然,你也可以把它们叫做“圆”或者“丸”,“圆形”或者“弹丸”。我有机会就此事问及毛焰本人,他的说法是“心丹”,这很可以展开一番联想。丹是典型的中国式说法,具体的丹可供服用,又有“心”字限定,可见这是一种内在的唯心之物。
The first is a kind of ball connected to each other. Of course, you can also call them "circles" or "balls", "circles" or "projectiles". I have the opportunity to ask MAO yan about this matter, his words are "heart Dan", which can be a lot of association. Dan is a typical Chinese saying, the specific Dan can be taken, and the word "heart" limit, it can be seen that this is an internal idealism.

©Mao Yan, Woman with a Mirror, 2017-2018, Oil on canvas, 130 × 90cm


毛焰这两年身边常备速效救心丸之类的药物,这个心丹的意象或者形象和他的个人生活也是密切相关的。毛焰并没有直接增添属中国的或者社会生活的符号,如果那样做就是妥协和重蹈覆辙了。心丹极为抽象,如果不是毛焰自己用文学语言说出,你还真的看不出来。

In the past two years, Mao Yan was always surrounded by instant relief pills and other medicines. The image or image of this xindan was also closely related to his personal life. MAO yan does not directly add symbols of Chinese or social life. To do so would be to compromise and repeat the mistakes of the past. Xindan is very abstract, if it is not spoken by MAO yan in literary language, you really can not see.


©Mao Yan’s work, Young Man, 2017, Oil on canvas


直观画面,那只是一些深色的彼此连接或缠绕的圆状物,有点像乒乓球,也像大力丸,其动向又像是DNA双螺旋结构模型。但无论如何,这些丹或者丸都不是毛焰所画的一部分,我的意思是,它们既不是画面空间的背景也非前景,和毛焰所绘的形象没有半毛关系。这一点非常重要,心丹不是画的一部分,就像是另一幅画、另一幅画中出现的内容。或者是正在画(正在看也行)的这幅画的边框、装饰。然而,在笔触和色彩以及其他绘画语言的处理上,心丹又绝对是和正在画的这幅画以及形象水乳交融的。套用语言学的术语,在所指的范围内,心丹和所画的主体形象各行其是,在能指上它们又出于同一个整体。

The visuals are just dark circles that are connected or intertwined, like ping-pong balls or power balls, moving like a model of the DNA double helix. But in any case, these danes or pills are not part of Mao Yan's paintings. I mean, they are neither the background nor the foreground of the picture space. They have nothing to do with Mao Yan's images. This is very important. Xindan is not part of the painting, just like what appears in another painting, another painting. Or the borders and decorations of the painting being painted (or looking at). However, in the treatment of brush strokes, colors and other painting languages, xindan is absolutely in harmony with the painting and image being painted. To apply the linguistic terms, within the scope of reference, xindan and the subject image of the painting go their own way, and in the signification, they come from the same whole.


©Mao Yan’s work, Young Man, 2017,Oil on canvas


下面说毛焰新增加的另一些东西。是闪光,还是反光?或者是光线折射?抑或是玻璃碎裂的瞬间?总之是一些不规则的光体、光照别出心裁地出现在画面上。在没有和毛焰交流的情况下,我们暂且称之为“光体”吧。和心丹一样,光体并不属于正在画的那幅画,和所画形象没有半毛关系,但却在用笔和色彩等方面融入了画面。同样的抽象、难以琢磨,但却好像是和心丹配合使用和互相生成的。在心丹和光体之间有一种彼此影响的必然关联,并非是各行其是的。

Here are some new additions to Mao Yan. Is it a flash or a reflection? Or is it light refraction? Or was it the moment the glass broke? In short, some irregular light body, the light is unique to appear on the picture. Without communicating with Mao Yan, let's call it "light body". Like xindan, the light body does not belong to the painting being painted. It has nothing to do with the image being painted, but it blends into the picture in terms of pen and color. The same abstract, elusive, but it seems to be with the use of xindan and mutual generation. There is an inevitable relationship of mutual influence between the heart and the light body, not a separate act.


©Mao Yan, “Andy of Scotland,” oil on canvas, 150 x 100cm, 2013-2014


如果说心丹以其密度代表实有,光体则以其指向代表空无。心丹因其体积感代表空间,光体则因其闪烁代表时间。这是一个时空或者虚实相间形成的维度构造,双方都无法脱离对方。一虚一实,一明一暗,一个是封闭之圆,一个是一条穿越之路……二者之间的关系显然强于它们分别和所绘形象之间的关系。似乎毛焰给自己所画的画增添了一个景深,就像是画框。但这画框却不是现实中一幅画的画框,也不是在画面上再画一个具象的画框,比那样做更为神秘和深远。我认为,心丹和光体媾合所形成的那个东西只能用维度加以说明。

If the density of xindan represents reality, the light body represents emptiness. Xindan represents space because of its volume sense, while the light body represents time because of its flicker. This is a dimensional structure formed between space and time or between reality and reality, neither of which can separate from the other. A virtual reality, a light and a dark, one is a closed circle, one is a road through... The relationship between the two is obviously stronger than the relationship between them and the image. It seems that Mao Yan added a depth of field to his paintings, like a frame. But this frame is not the frame of a painting in reality, nor is it a concrete frame on the picture, which is more mysterious and profound than that. In my opinion, the thing formed by the union of the xindan and the light body can only be explained in terms of dimensions.


©Mao Yan, Sitting Y, 2016, Oil on canvas, 110 × 75cm

当然,毛焰并非是从效果上考虑这一切、处心积虑才有了这些增加。所有的增加并用于建构,都是他长期思考、判断、专注凝神和在尝试中发展出来的。所有的这些“复杂的简单”并非是仅凭理性就能完成的工作。也许理性只适合于事后的阐释和解读,而真正超越性的创造只有天才在天才的时刻佐以耐心和单纯才能稍稍把握住。一旦有所成,天才立马便回到了和我们一样的肉体凡胎,对自己的所作也感叹不已。

Of course, Mao Yan is not from the effect of all these considerations, deliberate to have these increases. All the addition and use of construction is the result of his long thinking, judgment, concentration and experimentation. All this "complicated simplicity" is not work that can be done by reason alone. Perhaps reason is only suitable for the interpretation and interpretation after the event, and truly transcendental creation can only be grasped by genius in its moments with patience and simplicity. Once achieved, genius immediately returns to the same physical reality as us, marveling at what it has done.


©Mao Yan, Sitting Y, 2016, Oil on canvas, 110 × 75cm


“这是怎么回事,我为什么要画这些圆和光?我不得不画,但的确不赖……”毛焰说。

"What is this? Why am I drawing these circles and lights? I had to, but it wasn't bad..." Mao Yan said.






 往期精彩回顾 



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TIMES FIGURE|方凯:时代人物中的肖像气质
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【惠书文|专栏】王小双 · 20年代:透质的微光与凝望
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【 惠书文|艺评 】朱峰 · 20年代:雕于气,塑之以息的“数字装置”

策展手记|惠书文:由观念到“物质”的超验知觉,遇见黄鹿——合与生

【惠书文|艺评】陈蜀:在这个时代中,我们的记忆都是“被选择”后的意识残留




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作者:中国当代艺术

特别声明:本文为艺术头条自媒体平台“艺术号”作者上传并发布,仅代表该作者观点。艺术头条仅提供信息发布平台。

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