这是个时尚却充满纠缠的话题，而且不止于话题索性就是动作。走走停停还是走了，不管她原先是在哪站过，肯定在颜真卿那呆过，俯首临帖，后来又到傅山那，抬头仰望，意到笔随，绕指三啻，然后又换了去向。

　　所谓出走，是对即成以上程式的不羁、反拨。是在许多视觉艺术边缘结合部的自由但有风险的游戏。

　　哎，穿上红舞鞋的艺术家有谁能停下来，除非那些画钞票的，他们在循环往复的编码之下日趋熟练，接着不断精准，可是你怎么连一点内心矛盾都不往画里泄露，现实够烦了，有时想逃避都来不及，你还以艺术的名义加固危墙。你一点魅惑的诱饵都舍不得投放，俺凭啥上钩钩?

　　徐洁顾不上别人了，自己来来回回，她甚至撇开读者观众，至少最近二年一意孤行。她不再满足于两点之间的委婉缠绵甚至延伸，古人的情绪太温文尔雅，完全产生不了错觉，只有错觉能安慰装修当代生活，和徐洁电话里聊到错觉时她笑得很嘹亮，这显然是对批评的认同，因为出走的结果在这。

　　表达在作品里，点线面混淆了，色彩出其不意很提神，从熟练回归生辣，加上构成的雅拙直接进入三度乃至四维空间，错觉被潜伏等待打开。在这样是作品前打量久了艺术家和观众都会怀疑自己，调整是必须的。这又有新的问题，她会在魏立刚的状态下逗留多久?为什么又不可以逗留?她好像反问过，她的意思是停下一段吧这种错觉做充分些!歇一歇再走!就在这走走停停之间，徐洁放松状态下的这批作品掩饰了出走的紧张，因为紧张作为内容，形式的放松就不单薄，就意味无穷。

　　写这短文前，和张之先先生开玩笑说：你写她长大，我写她出走。早先我们共同的朋友魏宝荣先生认真指导过的徐洁已卓然大家，这是必须告慰宝荣先生的。这是一条与术并列的人生线索，它或许引领、暗示过徐洁出走的路向。

　　只要在走，方向就隐约可见。

鲍传江

Xu Jie Goes Out

      This is a topic fashionable yet full-of-entanglement, and not only a topic, but also simply an action furthermore. In stops and goes, she goes after all, no matter where she has stood previously, certainly she once stayed at the great calligrapher Yan Zhenqing, bowing down her head and practicing calligraphy after models there, later she went to the well-known calligrapher Fu Shan, raising her head and looking up there, with her writing brush following where her mind reached and with numerous intertwined lines, then again she changed her direction.

     The so-called going-out is the unruliness against and resistance to established routines. It is a free yet risky game at the marginal junctures of many visual arts.

     Ah, how could an artist in red dance shoes ever stop, except those who paint banknotes, they become increasingly proficient under cyclic encoding, then continuously accurate, yet why do you not reveal even a bit of inner conflict into the painting, reality is boring enough, sometimes there’s not enough time to escape, yet you still reinforce the dangerous wall in the name of art. You even grudge a bit of enticing bait, why should I rise to the bait?

     Xu Jie could no longer pay attention to others, but goes to and fro by herself. She even has left aside readers and audiences, and has gone her own way at least in the recent 2 years. She is no longer content with the roundabout lingering between two points, the ancients had too gentle and cultivated sentiments, completely free of illusions to be induced, while only illusions can console and embellish contemporary life. Xu Jie laughed very resonantly when I chatted about illusions, and this is obviously the acquiescence to the criticism, because the result of the go-out is here.

     As expressed in the works, points, lines, and planes are confused, unexpectedly the colors are very refreshing, returning to fresh rawness from skillfulness, additionally the constructed refinement and clumsiness directly enter a three-dimensional and even a four-dimensional space, illusions are concealed and await opening. Gazing long in front of such works, both the artist and viewers will doubt themselves, and an adjustment is necessary. Here is another new question, how long will she linger under the state of calligrapher Wei Ligang? And why may not she linger as well? It seems that she once asked the question back, her intention is to stop for a while, to allow such illusions to be thought more fully! Rest for a while and then go! Just in these stops and goes, this group of Xu Jie’s works under a relaxed state covers up the nervousness of the go-out; since nervousness is the content, the relaxation of the form in no way is simple, and has an inexhaustible significance.

    Before writing this essay, I Joked with Mr. Zhang Zhixian: You write about her grow-up, and I write about her go-out. Ms. Xu Jie, who was once instructed seriously by our common friend Mr. Wei Baorong in the past, has already become an eminent master, and this is what we must tell Mr. Wei Baorong for consolation. This is a clue of life parallel to scholarship, and it may lead and hint the way-forward of Xu Jie’s go-out. 

    Only if she is going, the direction will be visible after.

Bao Chuanjiang
May 14, 2012 
 

作者：鲍传江