对于艺术家来说，艺术永远是形式的，即使他觉得有需要表达的内容。苏新平就是这样，尽管他的画已经不能用现代主义的传统形式来分析。苏新平说：“我骨子里还是学院的”，当然不是说西洋的古典学院主义，而是说一个学术的、知识的孤岛。在商业的、波普的浪潮中，他坚持自己的思考。我用波普来泛指当前的绘画潮流，学院就显得很孤独。但苏新平面对学院和波普的时候，还是显得矛盾。苏新平理解的学院还不是我说的“孤岛”，他主要是指自己的训练和教育的经历，这种经验明里暗里决定着他的绘画方式，使他很难找到真正属于他自己的形式。他认为绝对的波普是一种摆脱，绝对的抽象也是一种摆脱，但他都做不到。对于前者，那是一种利益和诱惑，不是他的目的；对于后者，又失去了形象的依托，也怕自我迷失在其中。看来，苏新平是为自己的绘画设定了一些难题。
　　在苏新平的画中有很多抽象的成分，因为他的画幅很大，平涂的面积也很大，很多地方看上去就像抽象的拼贴。局部地看，很有一些极少主义的味道，但是没有极少主义的颜色，因为他的大部分作品都是用的比较灰暗的颜色。简要地说，在当代艺术中，单纯的颜色（广告性的颜色）倾向于集体的经验，而灰色调（学院的传统）倾向于个人的经验。苏新平的颜色不是出于极少，而是版画的经验。一般人难于理解苏新平的动机，既是画油画，为什么不发挥油画在色彩上的长处，让色彩更加强烈，或利用补色的对比。苏新平其实不是追求油画的效果，即使是现代艺术也成了一种套路。一种个人的方式怎样在当代艺术中显现出来，是他思考得最多的方面。他的长处在版画，但不能直接把版画放大来取代油画，油画的巨大空间适合他亲身体验的需要，但必须经历版画语言和叙事性的转换。对于苏新平来说，形式寓于观念，版画语言的转换却看不出版画的影子是他的制胜之道。他把套版的经验用于油画，关注的不是版画的效果，而是强调两种颜色之间的过渡。由于中国美术教育的特殊性，每一个画种的训练都特别强调专业的技术和效果，画种之间的转换总是带上浓厚的原有画种特征，尤其在版画家进行油画创作时，大色块的对比、强烈的明暗反差、单纯的构图和造型，总是比正统的油画显得更有现代性。苏新平对这一点知道得很清楚，表现直接的视觉效果并不难，因为别人已有成功的经验，难的是表达自己的观念。套版只是一个观念，不是用油画来复制版画，两种颜色的过渡和衔接意味着一种生命的状况和身体的体验，实际上，苏新平的形式只是一个表象。在巨大的画面空间，衔接成为画面的焦点，苏新平说，如果把握不住，这张画就完了。除了个别作品，在“风景”系列中，大多数作品几乎都是邻近色的过渡，大面积的背景和前景，过渡之处形成锯齿形的交叉地带。在画背景和前景的时候，都是用板刷大面积地平涂，他没有刻意考虑笔触的表现，背景几乎把笔触完全掩盖起来，前景则利用笔触和颜色流淌的痕迹自然形成的肌理，不仅在视觉上拉开前后的距离，在质感上也形成对比。笔触的作用在过渡的地方显现出来，笔触的摆放和擦抹使得两种颜色融合和交汇，偶尔有形象穿插其中，笔触又显得理性和坚实。两块颜色的交接线，也就是过渡的线，实际上是一条生命线，这一条线灵动起来，整个画面就具有了生命力，即大而不空。生命线不完全指形式的关键，而是身体的体验，从表面上看，苏新平是在关键的部分寻找一种把握，实际上是在动态的过程中把握一种感觉，这种衔接的关系不是预设的，也不是为了实现某种概念，而是要用个人长期形成的感觉和习惯去把握。在这一条衔接线上，感觉、经验、思考和记忆都通过笔触发挥出来。
　　一种生命的体验是无法用理性来分析的，苏新平如此强调套版的意义和两块颜色的过渡，应该有其内在的原因。苏新平的创作从一开始就有某种神秘感，他将形式赋予生命，生命又存在于一个漠大的空间。他早期的石版画就是这样，人物虽然占据了很大的画面空间，但在一个辽远而似空无的背景空间中，生命又显得很渺小。他的那些人物都有些变形，那种变形并非单纯的形式，而是他对空间感觉的结果，主体与客体共享一个空间，客体在空间的压力下变形，实际上是主体的空间感受在客体上的反映。这种空间的意识从来没有离开过苏新平，在近来的“风景”中，虽然人物去掉了，但空间的压力依然存在。这种空间的意识是由两部分构成的，一个是生命的经历，在辽阔的环境中成长形成的空间记忆；一个是生命在这个空间里面的成长方式，一切奋斗、挫折、困惑和追求，一切生命的不适和狂欢，都会在这个空间里面寻找归宿。两块颜色的过渡如此重要，因为它分别代表了生命的过去和现在。背景空旷而寂寞，一切笔触都被掩盖，似乎是非常遥远的过去，就像草原上看到的天地一体。近处则是现实的，那不是想象的场景，就是他画室前面的土堆，土堆好像隔开了两个世界，前面是繁华的都市，后面是荒寂的村落。每天傍晚他都会去土堆上转悠，无意中感受两个世界之间的孤独。虽然大画是一种趋势，但控制大画却不容易，苏新平的画越来越大，就是要紧紧抓住这难于处理的关系，把过去带入现在，把现在存于过去。当身体的动作紧张地处理两块颜色的过渡时，也就是把生命的两部分拼接起来。苏新平说，现在阅读美术史不是向美术史学习，而是寻找历史的缝隙，那些是别人没有做过的，没做过的东西才值得自己去做。生命的经历都不一样，怎样找到适合表现自身经历的方式，可能才是真正的历史缝隙。
　　与低沉的“风景”不同，“干杯”是非常热烈的红色，这种方式可以追溯到他在90年代的创作，如《年轻人》和《世纪之塔》。几乎同时创作的“风景”与“干杯”却反映了他的创作历程的两个阶段，却是很有意思的事情。90年代确实有些乱了方寸，对于苏新平来说，“草原”虽获成功，但个人的资源也接近枯竭，从记忆向现实转移有一个过程，现实必须沉淀为记忆才能进入艺术，苏新平是属于这种类型的人。因此，苏新平在90年代的创作，主要是对于现实经验的记录，而且过多地注意油画的记录功能，旁落了自己的长处。版画不仅意味着工具和手段，还与个人的生命历程紧密相连。如同“风景”的土堆不能细化为具体的现实，“干杯”也不是题材的抽象和现实的影射，和“风景”一样，也是在套版中回溯往事。往事的意义是双重的，版画是附着于生命的，在现实的题材中回归版画意味着过去的自我在现实的存在；另外，现实是被沉淀的记忆，惟有如此，才能在版画的方式中抽象出来。“干杯”的套版不是两块颜色的对接，而是几块颜色的重叠，在红色上复盖黑色和白色。与“风景”相比，“干杯”更加版画，尽管他以油画的程序完成作品，但整体效果却似黑色直接压在红色上。生命的记忆不是抽象的，“风景”的空寂来自生命的早期，“干杯”的红色则是对90年代的灯红酒绿的抽象，这同样是一段生命的经历，对于从空寂走出的人来说，更是一种深刻的记忆。不过，只要有形象，就离不开形象的身份和身份的属性。干杯的人虽然没有具体的所指，却还是反映了画家内心的感受。苏新平的画始终有一种现实性，除从他的画中体会到作为现实的人而存在之外，还在于他从90年代开始的对现实的观察。他认为这是他的学院本质之所在。更重要的是他个人本质的所在。在他的早期作品中，当他与牧民共享一个空寂的空间时，把空寂的自我投射于牧民。在“干杯”中，空间被经验化了，黑色的形象叠加在焦虑的记忆之上，仍然是共享一个空间，但主客体却是分离的，没有衔接与过渡，只有现实对记忆的撕裂。苏新平肯定会认为他没有这么想，他仍然是在寻找一个缝隙。除了红色与黑色的叠加外，白色则是光线的暗示，完全不是油画的画法，显得生硬而苍白。白色附着在形象上面，使形象浮出记忆的水面。这确实是苏新平的矛盾之处，也是他的优势之处，当他观察现实时，形式召唤他拉开现实的距离；当他固着于形式时，现实又以各种方式透过形象进入他的画面。不过，即使在“干杯”这样的作品中，我们还是感到了他的深沉和孤独。对他来说，形式总是依托于形象，而形象又依托于社会，他置身其间而又无法逃避的现实。这种矛盾在他的历史记忆和现实体验中产生活力。

A Desolate Life-an analysis of work by Su Xinping

Yi Ying

For an artist, art is always about form, though he believes it must express meaning. Su Xinping is this way, although his paintings cannot be analyzed through the traditional lens of modernism. He says, ‘In my bones I'm still academic,' which does not refer to the academic tradition of Western classicism, but to the pedagogical, isolated island of knowledge. In the midst of this pop and commercial tide, he persists in a solitary island of reflection. By using the word ‘pop' I refer the general trend of painting before now and allude to the notion that academia is reclusive. When Su Xinping confronts academia and pop there still seems to be a conflict. The academia that he understands is not what I define as a ‘solitary island.'  Rather, he draws upon his solo experience of training and education, one that has clearly molded his painting form. He believes that pure pop is a form of replication, and yet he himself cannot create it.  The former is profitable and attractive, but is not his goal. The latter loses reliance on the image, and is one where he is in danger of losing himself.

There are many abstract components of Su Xinping's paintings where due to their large scale, the expanse of surface area may make parts of the canvas appear abstract. His works on the whole exude elements of Minimalism, but lack the rich colors as the majority of his works employ a murky palette. Concisely, contemporary art colors (often used for advertising) appeal to the collective experience, whereas grey hues (referring to an academic tradition) tend to recall the individual experience. Su Xinping's palette does not arise from the minimal but from his experience in printmaking.  Most find it difficult to understand Su Xinping's motivation in his switch to oil painting. But why not develop his forte in the colors of oil painting to grant them more intensity or use to the contrast of complimentary colors? Su Xinping does not directly pursue the effects of oil painting but explores the facets of modern art that becomes a kind of skill set. He largely reflects on ways to express an individual manner in contemporary art. As his strength is in printmaking, it cannot be directly substituted by oil painting. The broad visual surface provided by painting on canvas allows him to reveal his firsthand experience but also reveals his process of changes from printmaking language into narrative form. According to Su Xinping, form resides in concept and his signature characteristic is the transformation of the printmaking language where the shadow of the print is not longer visible. He uses the process of multiple register printmaking in oil painting, paying close attention not to the printed result but emphasizing the transition between two layers of color. Through the course of Chinese art education, the training of each painting type lays particular stress on professional technique where transitions in painting have the pronounced characteristics of the original painting type. It is especially clear when a printmaker creates an oil painting.  The oil painting always appears more modern than orthodox in the contrast of large color fields, in the stress on contrast, and in the simple composition and modeling. Su Xinping unmistakably understands this process, where expressing a direct visual result is not the point because other people have already succeeded with that in this medium. What is difficult is in expressing one's unique idea. Multiple register printing is only one concept and is not meant to employ oil painting to copy printmaking.  It highlights the transition between two colors and the concept of connectivity implying a state of the human condition and bodily experience. The forms created by Su Xinping are only representative. In the large space of the painting surface the focal point of the canvas are multiple links, which according to Su Xinping if you cannot notice, the painting is considered finished. In the Scenery series most of the works have nearly the same color transition. The transition areas in large parts of the background and foreground are formed in jagged intersecting zones. The underlying base of the painting's surface is applied by a scrubbing brush providing an expressive technique without expressing painstaking brushwork. The application of paint to the background is layered to the point of completely concealing the brushwork, while the foreground features forms of natural texture and dripped traces of brushwork and color, thus creating a visual and material contrast in the canvas. The use of brushwork is revealed in these transitional spaces. The arrangement of brushwork and smeared strokes allows the two colors to harmoniously communicate so that brushwork seems both rational and substantial. The connecting line between two sections of color is also the line of transition, and is a living line. This line provides a spirit such that the entire painting possesses a vitality that is large but not empty. The living line does not point solely to the crux of form, but is an experience of the physical.  In all ways, Su Xinping is searching for a way to capture this crucial juncture, which indicates a groping for sensation in the results of this active state. This relationship is not presupposed and is not meant to achieve a particular rationale, but is meant to be understood through the individual's long-term formation of feelings and habits. On this line, feeling, experience, consideration and memory are all emitted by the brush.

There is no clear way to use rationality to analyze a living practice.  If Su Xinping stresses the meaning of multiple register printing and the transitions between two colors, then these are his internal reasons. Since his early days of creation, Su Xinping has embodied a sort of mysterious feeling, and this endows life with form. Life exists in the expansive spaces of his works, but life appears paltry in the distant and seemingly void-like background. The figures all have some distortion, and they are changed in a manner that is not evident but is a result of his feeling of space. The body and object share a space that exudes a pressure to alter the object's form. The consciousness of such a space has never left Su Xinping even though figures are absent in his recent ‘Scenery' series.   In the space of his canvas, such consciousness is formed from two parts: one is the experience of life, a spatial memory shaped in an expansive environment; the other is the manner of life's maturation in this space, a life spent competing, becoming defeated, confused and one seeking a life not suited to revelry. The transition between two sections of color is important in this respect because it differentiates between representation of the past and the present of life. In the lonely and expansive background, the brushwork is concealed as if in a very distant past, like the horizon seen in the grasslands. That which is nearer is real. It is not an imaginary site, it is the area in front of his studio.  It is as if the land is separated into two worlds, where the foreground is a flourishing city, and the background is desolate countryside. Each day he takes a leisurely stroll around this land, unintentionally feeling the loneliness between these two spaces. Although large paintings are consistent with contemporary trends, controlling them is actually not easy. Su Xinping's paintings are becoming larger and larger in order to close in on this difficult relationship, one that places the past in the present, and vice versa. When the transition of these two sections of color is tensely manifested through physical action, then the two sections of life are connected. According to Su Xinping, the art history we now read is not directed at the study the history of art but the search of the cracks in history, the ones that no one has dealt with, only those things left undone worth doing yourself. The experience of life is the same, and the process of finding a suitable method of expressing one's experience is perhaps the only true crack in history. 

In contrast to the graveness of the Scenery series, the vivacity the Toasting series in its animated character and red tones can be traced back to works from the 1990s such as “Youth” and “Century Pagoda.” Perhaps the Toasting and Scenery series are created simultaneously, reflecting two phases of his work process. The 1990s period was chaotic for some, and in Su Xinping's opinion, although Grasslands was successful, he was personally drained of creative resources. In the process of shifting from memory to reality, where reality precipitates from memory in order for it to enter into art, Su Xinping is considered one of these types of people. Therefore, his work from this era emphasizes a record of experience in reality and painstakingly records the function of oil painting, in keeping with his own strengths. Printmaking not only signifies instruments and methods, but is also closely linked with the course of an individual's life. Similar to the way that the grounds of Scenery cannot be refined to a concrete subject, Toasting is not an abstraction of the subject and of a counterfeit reality. As in Scenery, it also reflects on his past of multiple register printmaking. The past events are twofold: printmaking adheres to life and the return to the subject of reality signifies the past self in the present reality; furthermore, reality is precipitated by memory, only as such can it be abstracted in the methods of printmaking. The multiple register prints of Toasting do not feature the linking of two sections of color but superimposes several layers. Compared to Scenery, Toasting is more like printmaking, even though it is a work completed with the processes of oil painting where the overall result is of black impressed directly on red. The recollection of life is abstract, and the desertedness nature of Scenery is from an early stage of life, whereas the reds of Toasting abstracts of the excesses of drinking and feasting in that era. In this period, from the vantage point of the deserted the experience is even more deeply embedded in memory. However, if all that is needed is form, then it cannot be separate from the identity of form nor the qualities of that identity. Although the figures drinking a toast do not have a specific reference, they reflect the feelings of the artist. The paintings of Su Xinping begin with a realist form, and aside from understanding real people and existence from his paintings, they are also derived from his observations of reality beginning in the 1990s. He believes this stems from an academic nature, though what is more important is his individual nature. In his early work, when he shared a desolate space with herdsmen, he projected his desolation of the self onto these figures. In Toasting, the space is changed through experience. Black figures stacked on worrisome memories still share a space, but the guest of honor is disconnected, without transition or link, only with the rupture of reality on memory. Su Xinping will certainly say that this is unintentional because he still is searching for the cracks. Aside from the red and black stacking there is white, acting as a hint of light—a method not used in oil painting where it appears rigid and pale. White color adheres to the forms making them emerge from the waters of memory. This is actually the area of Su Xinping's contradiction as well as the area where he excels. When he examines reality, forms call on him to draw out the distance of reality. When he consolidates form, reality penetrates his painting in various ways. Furthermore, we in fact feel his reserve and loneliness in works such as the Toasting series. According to him, form always depends on image, and image then depends on society. And as he is involved between the two there is no way to escape reality. His contradiction produces vitality in his memory of history and experience of reality.

作者：易英