丁力雕塑的灵感是由废弃旧工业物在沉淀的路上偶然泄露的艺术天质。对此种艺术的解读必须还原到材料的碎屑本性，他们的出现本身就是异常的。碎片形象划过心灵，引起涟漪的圆圈效应，由雕像发出，直接捣毁了古典艺术的和谐。从古文明的出土中，我们能见到斑驳的艺术品被岁月侵蚀后的模样，这是废铜烂铁所保留的文明淤痕，一种战立的角度、孔洞所透露的活性。把这种雕塑纳入知识的细节中考量，它的“景观”被书本的滥调子粉刷，就显得过于学究。丁力先生的雕塑充满着机械世界的断裂、蹲伏、人的正饥饿着的欲望及百分之百被物化世界绞碎的硝烟。丁力的雕塑是窘迫和艺术的混合体，我们会驻足在这种雕塑的周围，因为它洞察了我们的生活模样。

　　当代艺术是沾染了城市的传染病，城市来不及好好地组合家园，房子便细菌式的漫延开来，像一群动物的左奔右突。它们的排泄物组成了栩栩如生的房子，雕塑艺术由此而生，这种斑斑点点的空隙陈述当代艺术“浅薄”的意蕴。它是我们当代艺术的冻土层，需要僵持的姿态伫立在街头和巷尾，形成有根的样子。深邃的底蕴艺术往往在学习的路上形成模仿的相似性，而“浅薄”则是废弃物玩味和被玩味的人群靡集时的自由样子。

　　对这种雕塑，我在进行话语的当代考古：

　　丁力的雕塑实际上是一种装饰物在努力掩饰被蹂躏后的人体形象，我们沦落、我们陈腐、我们被世界上的艺术观念所冲刷成流水的水纹一样，毫无个性和天性的人，这是一种凌乱错置的街头塑造，我们没见过这样的人，我们本真的面孔被这种雕塑撕去皮肤，暴露出慌乱的骨架。此类作品是对陶渊明乌托邦艺术的彻底背叛。桃花源的反面就是这些非人世界在钢铁的弯曲里戳破漂亮的词藻。丁力想装上皮肤，他塑造的形象，嘴和眼往往夸张和扭曲，充满着不信任感，它们来到街头就是要诉说自己的崩溃性。

　　丁力的雕塑艺术是一种“隐藏的噪音”，我们都亲热过“高山流水”，自从杜桑把马桶摆在展览大厅，“噪音”艺术便油然而生，可以说丁力的雕塑扰乱了我们的视线，他变成城市的扩音器，这种雕塑喇叭或充满“道歉”的真诚。

　　丁力雕塑的粗糙处理表面上看是一种方法，其实是一种叙述性质，他类似于一群碎裂的文字拼装的散文，他的坏笑是引起这个世界伴有警句式的标语。我们滑稽，我们被处理和投降状，是因为情人在诉说情话时总被现代的商业世界制作成标本，它们泛滥和工具化成为一种情话的仿制品，丁力雕塑的缠绵样子是在败露统一型“情话”的沦落，我很欣赏此等自白式的雕塑冲动。

　　我流连过丁力的雕塑群像，它们是由低廉的材料，如钢铁、废铁皮、旧塑料所堆砌和挤压而形成，它们充满物的冲突，作品在冲突下形成人的思维和感知，作品具有现代的、都市的游牧性，既不悲伤也不愤怒，他是当今人被调戏以后自我消灭的绵绵塑像。

Writing with Steel——On Ding Li's Sculpture

By Zhang Yansong

　　Ding Li was inspired by the artistic nature of industrial wastes occasionally revealed in the process of sedimentation. The artistic nature can only be interpreted when those wastes are scraped. It occurred originally as an abnormality. Scraps echoed with the artist's soul and directly smashed the harmony of classical art. With the unearthed ancient civilization, we witnessed the footprint of time on eroded artworks, the scar of civilization embodied in the waste copper and iron, and the vitality revealed by pores and holes from the standing perspective. If learned knowledge being included, the "landscape" of such sculptures may appear pedantic, with the red tapes in books. Ding Li's sculptures are filled with broken and crouching metals, human desires and scraps produced by a materialized world. They are mixtures of stress and art. We may stop in front of them, since they are reflecting our life.

　　Contemporary art is an infectious disease spreading across cities. Before cities could plan for a sweet home for us, buildings are scattered everywhere like germs, like wild animals rushing about. Their excreta are turned into houses. Thus sculptures are created. The empty spaces are telling the "shallow" meaning of contemporary art. Like the tundra of contemporary art, sculptures stand rigidly on streets and seemingly take their roots deeply. The in-depth art often creates similar copies, while "shallow" art keeps the free style in playing with those wastes.

　　For such sculptures, I conducted contemporary archaeology:

　　Ding Li's sculptures are actually decorations, struggling to hide the ravaged human body. We indulged, we decayed, and we are reduced into people without any personality and characteristics by the artistic concepts in the world. They are random creations on streets, and never seen in life. We are ripped off skins and left with skeletons only. Such artworks completely stand opposite to the Utopian art created by Tao Yuanming. The beauty of Peach Garden is bursted into bubbles by the bent steels and irons in the non-human world. Ding Li once planned to skin them, but he finally created the images with distorted eyes and mouths, as well as the facial expression of distrust. They stand on streets to tell their mental and physical collapse.

　　Ding Li's sculptures are "hidden noises." We have all got close to "mountains and rivers." But "noise" art was formed when Duchamp put toilet directly in exhibition hall. Ding Li's sculptures have interrupted our vision. He turned himself into the loudspeaker of the city, voicing the sincere "apology" with the sculptures.

　　Superficially the rough surface of his sculptures conveys the method, but actually it reveals the nature of narration. The sculptures are essays written by broken words, and the evil smiles are slogans of the world. We are funny, we are punished and we surrendered, since lover's murmurs are often made into specimens by the modern commercial world, overused and duplicated as prototypes. Ding Li's intertwined sculptures reveal the falling of the coined "lover's murmurs." Personally, I appreciate such self-explaining impulse.

　　I have observed Ding Li's group sculptures made by cheap materials, such as waste steels, irons and plastics. Materials are conflicting with each other, and sculptures are forming human thinking and perception. Works, like modern nomadism in cities, appear neither sentimental nor furious and resemble the self-destroying people after being teased.

作者：张岩松