90年代中期是苏新平艺术发生转变的一个阶段，这个阶段标志着他从语言的探索转向精神的表现，从乡土题材转向都市题材，从个人经验转向集体经验。苏新平认为这种转变是艺术家内在精神的需要，是艺术家作为社会的人对人的现实生存状况的审视与体验，是艺术家的社会责任的体现。但是，苏新平的作品又不是传统现实主义意义上的客观描述和社会评论，他仍然是在形式的探索中把个人经验、社会责任与现实关怀凝聚在版画语言之中，从现实的题材中体现出超越现实的精神力量，在形式的表现中又反映出现实的主题与强烈的参与意识。 　　苏新平的艺术从来就是在现实的题材中追求精神的主题。他的早期作品以草原为题材，但不是对客观事物的客观事物，而是在对个人经验的记忆中过滤了具体的事实，草原的环境往往被虚化为一片空无，那种具有宗教感的人的形象则象征了人与其生存环境的精神关系。人对自然的崇拜是人为了战胜自我的精神追求，而且也是人在那种环境下的一种独特的文化品格。很多画家都喜欢到草原采风，喜欢描绘草原的风光与人物，但只有苏新平的版画才能够在一个黑白世界中达到震撼人心的效果，因为它是从经历过的孤独与辽阔中追寻精神独白。从他的早期作品中可以看出，苏新平是具有超现实主义倾向的艺术家，而这种超现实的表述优势来自现实的经验和认识。在90年代中期以来的作品中，苏新平仍然和他的前期创作一样，个人的经验是创作的基础。作为一个具象画家，其作品的题材有其客观性的一面，尤其是《欲望之海》系列明显具有社会现实的针对性。在这些作品中，人物占有主要的位置，周围是一个虚有的空间，人物伸出他们的双手在空间中奔跑，似乎是在一个梦的空间中寻求永不满足的欲望。这既是象征人性的失落也是象征精神的失落，那些人物像是没有灵魂的躯壳，只有欲望的驱使。在这些作品中，他充分调动了版画语言的特性，背景没有做任何处理，但虚的空间却是实的存在。在草原题材中，背景是自然的象征，人的孤独显示出自然的崇高。在他的现实题材中，背景像是吞食人的黑洞，欲望的狂奔最终是人性的毁灭。对于苏新平来说这是一个重要的转变，从人性的颂扬到人性的批判似乎是人生经历从乐观到悲观的转变，是从战胜自我的理想追求向对现实的深沉忧虑的转变。苏新平艺术的动人之处就在于他对个人经验的真实把握，并且用自己的语言方式表述出来。 　　苏新平的近期创作在形式与材料上作了大胆的尝试，他将水墨运用到石板上，给他的版画带来新的形式感，原来复杂的色调层次被明快的黑白对比所取代，由于控制的难度形象也趋于单纯。他通过这种新的感觉与形式来表现更加世俗化的题材，尽管在主题上仍然是《欲望之海》的延续，那种反讽与幽默使人想起新客观派的风格。他是为现实的关怀寻找新的表达方式，还是使语言的实验立足于现实的经验？新的探索还刚刚开始，不论走向何方，从形式的创造与现实的经验中表现人性与精神的价值总是他永远的追求。

Experience from Realities and Creation of Forms
Yi Ying

The mid-1990s is a phase that saw a change in Su Xinping's art.This phase marks the transformation from exploration of language to expression of spirit,from rural subjects to urban subjects,from indidual experience to collective experience.To Su Xinping'mind,such a change is a requirement of the artist's inner spirit.It reflects the artist's(as a social figure)examination and experience of mankind's true livelihood,and embodies the artist's social responsibilities.However,Su's works are not objective narratives and social commentaries at the level of traditional realism.He continues to incorporate personal experience,social responsibilities and real concerns into the language of printmaking through the exploration of art forms.Spiritual power beyond the limits of reality is contained in real subjects,while in the expression of forms real themes and a strong sense of participation are portrayed.

Su Xinping is always committed to pursuing a spiritual theme in real subjects.His early works used grasslands as subjects,but they are not merely objective depiction,but concrete realities that have been filtered through memories of personal experiences.The grasslands used to be blurred,producing a feel of nothingness,and the image of figures infused with a sense of religion is a symbol of the spiritual relationship between mankind and the living environment.People's worship of nature stems from the spiritual pursuit to transcend ego,it is also a particular cultural feature of people in that environment.Many painter are fond of traveling and seeking inspiration in the grasslands,keen to depict scenes and figures found there.However,only Su Xinping'prints have been able to produce a pulsating effect in a black and white world,since he is seeking a spiritual monologue in the loneliness and vastness that he has experienced.Su's early works demonstrate that he is an artist with an inclination to surrealism,and this surrealism comes from personal experience and knowledge.In the works since the mid-1990s,personal experience continued to be the basis of his creation,just like in his early works.

As a figurative artist,there is an objectivity in his works-the series Sea of Desire is,in particular,points to social realities.Figures occupy the major positions in these works,surrounding them is a non-exsitent space.People are rushing in this space,their hands stretched as if endeavoring to grab unattainable desires in a dreamland.This symbolized both a loss of human nature and a loss of spirituality.Those people appear like mere shells with a shallow spirit and are entirely manipulated by lust.In these works Su Xinping gives full play to the unique language of printmaking.The bankground has not been given any special treatment,however the empty space is almost real.In the grasslands images,the background symbolizes nature,and man's loneliness accentuates the superiority of nature.In his images,the background is like a black hole decouting humans:the unrestrained release of desires eventually leads to the destruction of human nature:the unrestrained release of desires eventually leads to the destruction of human nature.To Su this is a transformation of vital significance.The switch from eulogy of human nature to criticism of it seems to accord with the change from an optimistic life to a pessimistic one,and accords with the change of spiritual pursuit of overcoming egotism to a deep anxiety about realities.What sets Su Xinping's art apart from that of other artists resides is his thorough command of personal experience and his ability to express it through his own language forms.

Su made bold experiments with the forms and materials in his recent works.He applies ink and wash techniques to lithographs,suggesting a new feeling.The original complex tonality is replaced by a strong contrast of black and white,and the images tend to be simple due to the difficulties involved in controlling of colors.Su Xinping depicts more secular subjects through this new form,although it is still a continuation of Sea of Desire in terms fo theme.The satire and humor is reminiscent of the genre of neo-objectivism.Is he seeking a new way to express reality,or is he basing language experiments on genuine experience?It is only a starting point of new exploration,and whichever direction he goes,it will be Su Xinping's lifetime pursuit to express the value of human nature and spirit by creating of forms from life's realities.

Translated by Baoping Li,editor of China Archaeology and Art Digest

作者：易英