8.5cmx10.8cm  No.51 宝丽来综合材料 2015年

8.8cmx10.7cm

8.8cmx10.7cm是宝丽来成像之后的外径尺寸，当然宝丽来还有其他的尺寸。这一款比较经典而且常规，也是我这个系列中用得最多、也最容易找到的一个尺寸。

宝丽来其实是一个公司，于1937年在美国成立。最初他们以生产太阳镜和发明光学技术为主，二战后才转向照相设备。

被伟大的史蒂夫·乔布斯奉为精神导师的埃德温·兰德正是这个帝国的绝对灵魂领袖。

在上个世纪，直到这个帝国的最后岁月，都未曾有竞争对手和挑战者真正撼动过它在即时显影领域的至尊地位。

但是，上个世纪末，成熟的数码相机时代来来临了，于是乎宝丽来成了小众的消费。

2014年，小邬帮我在网上买了台二手的宝丽来SX-70相机。这款问世于1972年的折叠式经典，John Lennon、 Andy Warhol、Cy Twombly及其他很多大师创造了非常丰富的美丽画面。

我拍了很多，胶片很贵，一盒只有八片，噼里啪啦，一会儿就一盒。胶片不同于数码，数码可以删、可以修，而胶片没玩好就是成像的废片儿了，这个过程中于是乎就产生了大量的废片儿。

我太太说：“你这也太烧钱了吧？”

麸子工作室

我开始琢磨着这些废片儿怎么办？能干什么呢？总不能扔了吧？！纠结了好长时间，这些废片儿也在那放了好长时间。

因为这个尺寸太小了，油画和丙烯这两种材料是不具备操作性的。而水彩由于经常画小稿，一直在用。并且这种材料特别便捷小巧，我开始了尝试。但问题也马上来了，因为水彩一直是附着在水彩纸上，而胶片却是光面的，画完怎么定型啊？！不定型，用手一碰就掉了。画完的边儿，刚开始也是处理不干净，总是会擦到画面。我的天啊！太麻烦了！这个折腾啊！中间数次都不想玩了，这其中的沮丧、挫败，今天看起来更像是一剂兴奋良药。

麸子工作室

2015年9月4日，终于画出来了第一张宝丽来水彩。我画了三十几年的画，大到三米、四米，小到三十厘米、四十厘米也是经常。但是，在8.8cmx10.7cm这么巴掌大的方寸之间的表达以前并不常有。油画布和纸都是空白的，所有的图像都是一次崭新的创造。因为画布上面什么都没有，而我的工作就是无中生有，但宝丽来废片儿则完全不一样。经历过一次曝光之后，图像已经呈现在那里了。这些信息开始和我发生对话，有时候我可以顺势而为发生新的内容，有时候我们又产生对峙，有时候碰到一些意外的废片儿，可能只需要添加一根线就足矣，有时候又对着一张废片儿发很长时间的呆……

惊喜经常在于你永远不知道会发生什么。

刚开始，我是自己拍。后来发现这远远不够我的工作量，我开始在网上各种渠道地寻找。

随着日积月累和不断的深入，它们已经开始潜移默化地影响着大画的结构和线索，这个相辅相成的过程充满了乐趣和欢喜。

8.8cmx10.7cm  No.40 宝丽来综合材料 2015年

很早，我就明确地知道我不喜欢数码图片的冰冷与完整性，胶片宝丽来的错误与不确定性这种温暖的未知给我带来冲动与快感，我用水彩赋予它们新的生命和惊喜。

选择水彩和废片儿结合来表达说起来也是偶然，在这个过程中，我发现在水彩的传统特质外我找到了一种新的表达。我拍完再画，别人拍完我再画，不同视角的二次、三次的曝光中，一次又一次探索其中无限的可能。

一回头不经意间才发现，这个系列已经做了五年了！当初也是一玩儿，没想到这一做竟放不下了……

画吧……

不说了，说多了跟喝多了一样…

8.8cmx10.7cm, is the external dimension of Polaroid photo. Of course, Polaroid has other sizes. 8.8cmx10.7cm, the most classic and regular size, is most commonly used in this series.

Polaroid, a company founded in the United States in 1937, initially focused on the production of sunglasses and the inventions of optical technology, and turned to photographic equipment after World War II. Edwin Herbert Land, regarded as a spiritual mentor by Steve Jobs, was the absolute soul leader of Polaroid empire. In the last century, Polaroid has never been shaken by any competitor or challenger in the realm of instant photography. But at the end of 20th century, the technology of digital camera became more and more mature, hence Polaroid turned niche.

In 2014, I bought a secondhand SX-70 camera on the internet with the help of my friend Wu. Just by this classic folded-style born in 1972, John Lennon, Andy Warhol, Cy Twombly and many other masters created many splendent and beautiful pictures.

I took a lot of photos, but the photo papers are expensive. A box of 8 pieces ran out in clicks and clanks. Polaroid, very different from digital photography, could not be deleted nor be retouched, and would be wasted if not used properly, so many wasted photos emerged during this process.

My wife says: “Don’t you think you are burning money?”

I began to ponder over how to do with these wasted photos. What use can I make of? Must they be threw away? While a long time past in hesitation, I kept the wasted films all along.

In such a tiny size of 8.8 cm x10.7cm, neither oil or propylene has operability. I began to try watercolor, which is small and very handy, and with which I often draw little piece. The troubles arose at the same time. Watercolor couldn’t be fixed on the smooth photo papers, and would be changed at one touch. The edge parts were always smeared into main pictures. Oh my gosh! So many troubles! So much hassling! I felt so utterly dispirited and depressed that I gave up many times. But all those feelings also seemed stimulants with hindsight.

On September 4th, 2015, the first Polaroid-watercolor work was finished at last. I have painted for more than 30 years, varying from 3 or 4 meter, to 30 cm. But it was not an ordinary try in 8.8cm x 10.7cm. When painting on canvas or paper which is all blank, every image is a completely new creation, and my work is a sheer creation out of nothing. But Polaroid wasted photo is a whole new game. Already presenting images after one exposure, the photos are talking to me. Sometimes I could produce new content based on the information the photos send out, sometimes I would have fierce conflict with them; sometimes to finish a new work, just need to add one line, sometimes need endless and serious meditation…

Surprises tend to rest in that you never know what will appear.

At first, I used my own wasted photos, but soon I found the stock was not enough, and began to seek through various channels.

As the accumulation of experience and deepening of experiment, these Polaroid-watercolor work have imperceptibly impacted the structures and lines of my large painting. They oppose each other also complement each other. This process is full of fun and joy.

Unlike the coldness and wholeness of digital photography which I have known I don’t love since a long time ago, Polaroid, with much uncertainty and unknown surprises, make me so impulsive and joyful that I am desirous to give them new life by watercolor.

The combination of watercolor and wasted photo is just incidental, and I have found a new expression besides the conventional touches of watercolor. I paint on my own photos, I paint on other person’s photos, I keep to seek more and more views and infinite possibility.

Four years have been spent on this series unexpectedly. At first, it was just for fun, but the fun seems so persistent and endless... And I’ll keep on.

My deep sensations and feelings are beyond words.

麸子

1968生于内蒙古包头市，现工作生活于北京。

Fuzi

Born in Baotou, Inner Mongolia, in 1968. Now lives and works in Beijing.

关于本裕艺术机构       

本裕艺术机构成立于2015年，坐落于北京第三使馆区亮马桥外交公寓A区。自成立以来，本裕艺术机构以专业的态度致力于探索中国当代艺术发展，推动本土艺术家的艺术实践，并着重于对青年艺术家的关注与发掘。本裕艺术机构一直以敏锐的视角捕捉艺术的新动向，积极参与国内外艺术项目实践，在全球化语境中谋求当代艺术发展演进的最大可能。同时，本裕艺术机构依托于母公司本裕国际的金融行业背景，以及展览空间所处的地理、文化背景，促进国内外艺术活动及艺术机构之间的良性互动。

About Bennus Art Institution

Bennus Art Institution was founded in 2015. It is located in the Zone A of the Landmark Diplomatic Apartments Complex in the third embassy district of Beijing. Since its establishment, Bennus Art Institution has devoted itself with professionalism to exploring the development of Chinese contemporary art, promoting the artistic practice of native artists and emphasizing on the support and tapping of young artists. Bennus Art Institution keeps keen observation to capture the new trends in art, and actively participates in art projects at home and abroad. It aims to promote the greatest possible evolution of contemporary art in the context of globalization. At the same time, Bennus Art Institution relies on the finance sector background of Bennus International, its parent company, and the geographical and cultural background of the exhibition space to promote constructive interaction between art activities and art organizations both at home and abroad.

作者：本裕空间