时下，我的水墨艺术主要以浓缩单色环境中的个人心里化人物形像与肢体空间为出发点，通过绘制具体情感欲望及多重意念，借助并延伸影像感受的空间复杂表情，使我特殊的水墨艺术形式得以充分的个人化的真实演示，于是影像艺术的准确及直接真实性与黑白灰空间的纯粹便会在我的作品中得以新的表达，并随之带来一种新的当代水墨艺术形式——“影像水墨”。而选择单色是因为单色降低了多彩画面构成的复杂性，使作品的概念与我的意识表达能更加准确。

　　从广义的角度来说，以当代艺术观念为依据，如何寻找固有水墨艺术中可以扩展的语言成分，结合新的视觉要求，植入当代艺术方式，促使水墨艺术在现实中的身份转换是当代水墨艺术领域近几年中一个既敏感又有实质性的双重课题。

　　“手工影像”一词是李旭先生2008年对我的水墨艺术观念及形式的具体定位。“影像”在这里可抛开影像形式本身主要在于它所“还原或记录的真实感受”而“手工”则强调艺术家在现实及人文环境中的个人化心理的再经历过程，如同在自悟思想与手工行为中的细微体验。当然“手工影像”对于我还在于立足中国传统绘画材料——宣纸与水和墨，一方面这些材料所归属的是中国文化的纵深性及情感的民族认同，更重要的是在今天水墨这种国粹遗存得以再生的条件应该是将其建立在中国当代艺术基础之上，表达的是中国当代文化的艺术走向及时代意义。宣纸材料的“韵味”是水墨艺术转变或转型过程中的唯一必须存留的底线，也是我的作品“影像水墨”艺术(“手工影像”艺术方式的继续)所遵循的条件。

　　其实“影像水墨”做为水墨艺术向当代艺术观念彻底转变的学术方式之一，它强调主与客观现实的真实性与文化的当代心理性的统一，它根据传统材料的特殊性，着力强调制造水墨的影像手工效果，并在绘画过程中感受自我的真实与“手工情感”，这期间保留水墨宣纸的中国意味—— “韵味”十分重要。所以，我将这种特殊的用中国宣纸与墨及水绘制而成的，遗留中国传统韵味的个人化手工影像作品称之为“影像水墨”。

　　At present, my ink and wash paintings take concentrating individual's psychology and image as well as as the figure's body space in monochrome circumstances as my point of start. By depicting specific emotion, desire and multi-ideas and by means of extending the profound expressions and feelings that like video art gives us, my special ink and wash form develops my own personal style truly and fully. Thus, the privileges of video art such as accuracy,direct and real presentation and purity of black, white and grey spaces, could be expressed by my works in an ink and wash way and thus follow on a brand-new contemporary ink and wash form--"Video Art Style Ink and Wash Painting". I choose monochrome in my paintings because it reduces the complexity of colourful pictures and makes the paintings' conception and expression of my idea more clear and definite.

　　From a generalized point of view, it is a sensitive and substantial double subject of contemporary ink and wash painting in recent years that how to search for new language in inherent ink and wash and how to realize ink and wash's identity conversion on the basis of contemporary art conceptions.

　　"Handmade Video Image" is the orientation of my ink painting's concept given by Mr. Li Xu. Here, "Video Image" is not connected with video art directly but stresses on its character of reverting and recording real feelings like video art. "Handmade", however, emphasizes the re-experiencing process of artist's psychology in reality and also in humanistic environment. It is more like a kind of exquisite feeling of self-enlightenment in handmaking behavior. Of course, to me, "Handmade Video Image" also bases on Chinese traditional materials of rice paper, water and ink. On one hand, these materials belong to the deep Chinese culture history and national identity.On the other hand, nowadays, for such quintessence of Chinese culture as ink and wash painting, the revival condition should be established in Chinese contemporary art and should deliver meanings of our era and point out art trends in the context of contemporary culture. The Chinese aesthetics of "Rhythm and Charm" of rice paper is not only the base line that should be kept in the transitional of contemporary ink and wash but also the prerequisite that my "Video Art Style Ink and Wash Painting" (product of "Handmade Video Image" art method) follows.

　　Actually, as one of the academic methods which ink and wash takes in the transition from tradition to contemporary art conceptions, "Video Art Style Ink and Wash Painting" emphasizes on the integration of objective reality and subjective contemporary psychology in culture. According to the particularity of traditional materials, it exerts itself to make handmade video effects and enjoy the authentic selfhood and "handmade emotion" in the painting process. During the process it also reserves Chinese implication of rice paper. Yes, "Rhythm and Charm" is really important. Therefore,I call these works, special and private handmade video image like works, that use rice paper, water and ink and still keep Chinese traditional aesthetics of Rhythm and Charm, as Video Art Style Ink and Wash Paintings.

作者：蔡广斌