曾几何时青年艺术家的表达被固定化，不是具有时代标签的小叙事，就是观念化的玩味，那种看不出时代印记的、松散而随意的个体思绪表达变得不那么容易。杨得聆却以一个女性的细腻感受和随性而为的笔调化解了这一层包裹在青年艺术表达上的硬壳。

 

她的作品最常见的题材无非有二，一是室内空间慵懒惬意的生活。画中的女子或躺或倚、衣裙宽松、神情松缓，有时在逗弄着宠物，有时陷入飘飞的思绪，总之既不沉凝，亦不振奋，而是处于某种意味绵绵的柔乡之中。在这类题材里，“追忆”是经常出现的母题，然而从画面的意境看，这种追忆并不是真的对过去的回想，它不指向所谓苦涩抑或美好的青春回忆，而是某种思想放空的状态，它让心内之境与心外之景形成凝固的时光区段。另外一个题材是庭院。茂盛的植物，和煦的阳光，静立的桌几杯盘……虽然没有人，但似乎能够感觉到清新的呼吸声存在。

 

很自然地，杨得聆的这些作品每一幅都会有色调和笔触上的差异，但总体来说，景象上非古非今，画面氛围一律是朦胧的，斑斓的，静谧的，未必全用粉色，却总感觉都镀上了作者梦幻般的粉色光晕。她的某些笔法也许能够找到西方现代派画家的影子，但是情感和意趣却都源自最为真切的“中国恋家女孩”的心声。画面所引向的是远离尘嚣的心灵栖息的诗意所在，作者并非漠视都市和自然环境的窘迫，而是有意以此笔调构筑内心向往的“家园”。它是久处城市樊笼之中的人们渴望的心灵港湾，它是如此平常、惬意、因个体的感知而至的怡然自得的感性家园，而不是分析的、凸显思想刻度的理念家园。

                                                                                                                    胡斌   

         （广州美术学院美术馆副馆长、广州美术学院人文学院副教授、批评家、策展人）

 

 

 

Pink Indolence and Emotional Homes

Not long ago, young artists’ voices stabilized; they no longer tell small narratives that bear the imprint of their times. It has become more difficult to see those conceptualized ruminations, those timeless, loose, and casual expressions of personal emotion. Yang Deling uses a woman’s refined sensibility and free style to dissolve the shell that now covers youthful artistic expression.

There are two common themes in her work; the first is a languid, pleasant life in an interior space. The woman in the painting is often leaning or lying down, wearing loose clothing and a relaxed expression. Sometimes she is playing with a pet and sometimes she is lost in thought. She is neither solemn nor joyful; she is enveloped in a softness that only comes from one’s hometown. In these paintings, “recollections” is a frequent motif and, from the imagery, these recollections do not require her to truly recall the past. These works point to youthful recollections that are neither bitter nor beautiful; instead, she seems to be letting her mind wander, with the interior realms and exterior scenes forming a solid block of time. The other theme is the courtyard. Luxuriant vegetation, warm sunlight, and cups and plates on a table … Although there are no people, we can almost hear the refreshing breeze.

Naturally, every one of Yang Deling’s works varies in its tones and brushstrokes. The scenes are neither ancient nor contemporary. The pictures are hazy, resplendent, quiet, and not entirely pink, but it almost feels as if the artist has blanketed the scene in a dreamy pink haze. Some of her brushstrokes may contain the shadows of Western modernist painters, but their emotion and interest come from the authentic expression of the “homesick Chinese girl.” Her pictures point to the poetry of this distant spiritual home. Yang does not underestimate the predicaments of the city or the natural world; she consciously constructs the home for which she yearns. People long confined to the cities long for this kind of spiritual harbor; it is an ordinary, pleasant emotional home that arises from personal contentment, and not an analytical, intellectual, and rational home.

                

Hu Bin   

          (Deputy Director of the Art Museum at the Guangzhou Academy of Fine Arts, Associate Professor of the School of Arts and Humanities at the Guangzhou Academy of Fine Arts, critic, and curator)

作者：胡斌