从意识到传统笔墨表达方式面对现实生活的荒诞和失落，到自觉地以自己的方式探索中国水墨语言的表现力，脱落掉越来越多的情节和梦幻，愈发给人物对象本身以格外的关注，雷子人看似失去了许多现实的真实，其实却得到了更深一层的真实，一种绘画本身能否在当代生活中安身立命的真实。

　　商报：您在中央美术学院学习的专业是中国画，对中国水墨人物画也有过系统的研究与梳理，作品中运用传统书画语言，但却蕴含着对当代人内在情感的解读与剖析。

　　雷子人：当代与传统并不矛盾，当代不一定反传统。任何事物的存在都有源头，绝非无中生有，当代是传统的衍生。同时，创作纯粹传统水墨画要有时代背景，上世纪八十年代末期，我开始接触西方艺术构成，进行过一些实验性创作。那时，中央美术学院的学习氛围很开放，兼容并包，提倡试验性，但对教授传统绘画也不放松。学生时代，我的作品在笔墨上较多沿用了传统技法，但更多是在表现青春气息。一九九八年前后，我的作品似乎有了些当代意味，画中有情调、情境、趣味，但张力不够，结构感不强。

　　商报：在中央美术学院毕业后，您曾经到出版社工作，此后又回到中央美术学院学习、任教。

　　雷子人：是的，在出版社工作，基本处于纯艺术圈的边缘，但是我并没有放弃画画，那时的工作氛围与艺术有一定距离，之后我通过考研究生的方式回到了中央美术学院。

　　商报：边缘氛围对您以后的创作有影响吗？

　　雷子人：边缘状态让我有回望艺术圈的意念，反观自己对艺术的认识，通过“圈外人”的眼光确定从事艺术创作的意义，并能够客观理性地看待作为艺术家的身份与角色，一方面会思考大众审美等趣味问题；另一方面仍会考虑如何保持自己的独立性，而不是一味地附和大众。

　　商报：您的画面清新、率性，但隐喻着一些对文化的反省。雷子人：在画里我不喜欢表现暴虐、残酷或阴暗等情绪和状态，更倾向于呈现“明亮”，更愿意赋予明亮多重解读空间，不是一目了然，也不给价值判断。譬如画中的男女，他们是构筑整个社会的两个因素，是此岸与彼岸的关系，观想状态下可以有关于人之外的想象与阐释，诸如人性、社会性，美丑善恶与审美有关系，也借以照见自己。

　　商报：您的画里总有对女性的关注。

　　雷子人：是的，画面中多次出现小男人、大女人，以男人的某种视角看待彼此，既游戏也设计，荒诞、滑稽与真实并存。

　　商报：好多画里频频出现女性与马的形象，有何特殊用意？

　　雷子人：所谓的“马”，并不是具象意义上的马，近期创作的作品中也有所涉及。我并没有真正描绘马的造型，只是借用动物的面具，在我熟悉的动物里截取了部分元素，最终组合成与人若即若离的关系存在。它的形象往往是自我、陶醉，被解读的空间更宽一些。可以将其角色进行移位，更多的是一种符号，可以是观者，也可以是我自己，有若干种可能。同时，这种场景化的描述，来源于生活中的“一刹那”，这种“一刹那”随时都可能遭遇。它无时不在，不可能真正抓住，但我时刻都想让其停留，有关美的、想象的、失落的；既表象，又抽象。

　　商报：生活由很多“一刹那”组成，您在创作中如何把握？

　　雷子人：我更多的是把握梦境，梦与生活经历有关，在现实中失掉的、没抓住的，企图用画的形式复原，或者是对以往生活的留恋，对未知世界的想象。

　　商报：您以江西陂村为题材创作出一系列作品，通过水墨、油画、影像等形式全面表现出来，当初出于怎样的考虑创作该系列作品？

　　雷子人：用艺术的眼光来看这座有八百年历史的古村落，画画只是关注这个村落族群的一种形式，我运用了一些跨界的艺术手段，包括一些社会学的方式，如田野调查、影像以及文字等。

　　商报：您的“ 陂”系列作品在您所有创作里是个特殊的系列，您希望这系列的组画最好的归宿是什么？

　　雷子人：有完整独立学术研究系统的美术馆收藏，保留其完整性。

刘洋 丛晓燕（《北京商报·中国当代艺术周刊》）

　　Say Goodbye to Worldliness, Full of Old Fashion

　　Liu Yang Cong Xiaoyan, Chinese Contemporary Art Weekly, Beijing Business Today (BBT)

　　From consciousness to the traditional form of expression, pen and ink, facing the absurdity and loss of the real life, to consciously exploring the expressiveness of Chinese liquid-ink language in his own way, Lei Ziren seems to have lost most of truth of the reality in his paintings, with more and more plots and dreams being lost and an increasing attention being paid to the people themselves, but a deeper truth comes into being, indee.

　　BBT: Your major was Chinese painting at China Central Academy Of Fine Arts (CAFA), and you have also do neasy stemaitc research and collection on the Chinese wash-drawing figure painting. A traditional painting language was used in these paintings, which contain interpretation and analysis of modern people.

　　Lei Ziren: There is no contradiction between the modern life and tradition and t he modern life does not mean going to the opposite direction towards tradition. Everything has its own souce, and absolutely, the modern life is derived from tradition. Meanwhile, there should be an era background to create a pure traditional liquid-ink painting. I started to learn the formation of western art with some experimental creation at the latter of1980'. At at time, the academic a tmosphere was very open in CAFA and triability was advocated, however, it was still not easy to teach traditional painting. When I was as tudent, I adopted traditional skills in most of liquid-ink paintings, and many of them embody air of youth. Around 1998, my works seem to reflect the present life with sentiment, context and interest, but theirefforts were not enough and weak in sense of structure.

　　BBT: After graduated from CAFA, you once worked at a press, and later, you came back to CAFA to study and became at eacher there.

　　Lei Ziren: Yes, working at the press is basically at the edge of art circle, but I didn't give up painting. There was a certain distance between the working at mosphere at that time and art. Later, I went back to CAFA by means of examination of postgraduation.

　　BBT: Did such an atmosphere affect your later creation?

　　Lei Ziren: The marginalized status made me expect to return the art circle, have are consideration about my understanding of art and determine the meaning of being an artist from the perspective of an out sider. It also enables me to treat the identity androle of artist impersonally and rationally.On one hand, I think over such interestingquestions like the popular sense of style; on the other hand, I was still considerting about how to maintain my independence, instead of only conforming to the public.

　　BBT: Your paintings are fresh and natural, which, however, contain the reflection on culture.

　　Lei Ziren: I don't like to show emotionsand conditions like cruelty, brutalityor duckness in my paintings, but I am inclined to present "brightness" and like to give more interpretations to this word. It is not clear at a glance, nor being given valuejudgment. For example, man and woman in painting, they are two factors in the wholesociety in a relation of this shore and the other. In a status of review and thinking,there can be imagination and expositionbeyond human, such as, human nature,sociability and the relationship betweenbeauty, ugliness, the good, the evil andaesthetics, which can be used to reflectyourself.

　　BBT: Your paintings always pay attentionto woman.

　　Lei Ziren: Yes, young men and powerfulwo m e n t u r n u p m a ny t i m e s . From perspectives of a man, it is a game andalso a kind of design, absurdity, humor andreality co-exist.

　　BBT: The images of woman and horse turnup in many paintings, is there any specialmeaning?

　　Lei Ziren: The so-called "horse", not aspecific horse, was refered to in recentworks. I didn't really describe the shapeof horse, but only used the mask of animaland selected part of elements from afamiliar animal of mine to set up a relationwith human finally. Its image is usuallyself-loved, which gives people more roomto interpret. Its role can be replaced by asymbol which can be considered as thewatcher or myself, many possibilitiesremain. Meanwhile, such st r uct ureddescription comes from "one moment" inlife. This "one moment" is likely to happenevery mimute, and I want to grasp but fail.It is about beauty, imagination and loss; and it is representational and abstruct.

　　BBT: Much one moment constitutes lifeand how can you grasp it?

　　Lei Ziren: I grasp the dream world more,which is related to the life experience. Inform of painting, I attempt to restore thelost and missed in reality or those happytime in the past and imagination about theunknown world.

　　BBT: You created a series of works tofully embody subjects of Mei Po Villagein Jiangxi Province through the forms ofliquid ink, oil painting and images. Whyyou created this series of works?

　　Lei Ziren: Painting is only one formof paying attention to this 800-year oldvillage from an artistic point of view. Iused some trans-border artistic means,including some ways of sociology like fieldstudy, image and word, etc.

　　BBT: Your "Mei Po" series works is aspeical series in all of your creation. Whatis your desired destination of this series?Lei Ziren: I hope the series will bereserved by an independent and systematicart museum to maintain its integrity.This article was published in the 72nd Chinese.

　　Contemporary Art Weekly, Beijing Business Today , April 30, 2010

作者：刘洋,丛晓燕