GETTING RID OF TRADITIONAL BOUNDARIES

Vantage Shanghai - - 文化圈 -

Among Chinese contemporary artists, Wang is perhaps one of the pioneer artists who first thought deeply about the relationship between sculpture and contemporary art. Apparently, his art does not fit the traditional understanding audiences have for sculpture - it is a result of his experience of making both traditional and contemporary sculptures.

At the age of 16, Wang became a student of special craftsmanship with a focus on sculpting. It was the first time that Wang was exposed to sculpting and he demonstrated exceptional talent in class - he became the favorite student of Professor Zhang Da Sheng, Wang’s sculpting mentor. Wang was even promoted to be the representative of his class. Since then, Wang fell in love with sculpting. However, at the time, the teaching materials and techniques used in school were very rigid: the materials lacked diversity and were used repeatedly; the teaching even restricted sculpting procedure by requiring shelves to be built prior to making sculptures.

Later, Wang was successfully admitted to the Sculpting Department of China Central Academy of Fine Arts where he started to systematically study Realism Sculpting techniques from Europe and the former Soviet Union. After the Sculpting Department adopted the art studio program, Wang chose to practice in the “Contemporary National Art Studio” led by Professor Si Tu Jie who at the time just returned to China following his study in Canada. It was right in that studio where Wang started to experience the kind of freedom that he never felt before he started to learn comprehensively the sculpting history of both the West and the East, and since then he has been engaged in researching and conducting comparisons between contemporary sculpting and traditional Chinese sculpting.

In 1983, Wang volunteered to work at the college’s research center of the Sculpting Department. At the research center, he devoted himself to making sculptures, installations, and performing arts; he had in-depth study of the contemporary and post contemporary art of the West, through gradual practices, he slowly got rid of the boundaries set by the traditional Chinese sculpting.

In 1993, Wang created a series of super realism human body sculptures called Moments, the series depicted the postures and actions of a group of people when they were arrested. Wang placed the sculptures outdoor in a wasteland thereby creating a scene of distortion and absurdity. Since then, Wang’s personal creation style that combines sculpture, action, and conceptuality started to take shape.

摆脱传统束缚

在当代中国艺术家中﹐展望大概是最早深入地思考雕塑与当代艺术关系的艺术家之一,他的作品显然并不符合大众对于传统意义上“雕塑”的理解。这一切,皆源于其从传统到现代的雕塑创作经历。

十六岁那年,展望报考了以雕刻为主的特种工艺专业,第一次接触雕塑的他便展现出了超乎常人的雕塑天分,深受启蒙老师张大生的赞赏,甚至让他担任了雕塑课课代表。从那时候开始,展望便爱上了雕塑。不过,当时国内学校所教授的雕塑技法都十分教条:材料单一,程序重复,甚至还停留在先搭架子再做泥塑的秩序约束上。

后来,如愿考上了中央美院雕塑系的展望开始系统地学习欧洲以及前苏联的写实主义雕塑技法。在雕塑系实行工作室模式后,为了能够进一步了解西方现代艺术,他选择了刚从加拿大留学回国的美院老教授司徒杰先生代课的“现代民族工作室”。也正是在这里,展望开始接触到了之前从未体会过的自由—他开始更全面地学习中西方雕塑史,并由此开始了现代雕塑和中国传统雕塑的对比研究与思考。

1983年,展望毛遂自荐去了中央美院雕塑研究所。在研究所里,他全身心投入到雕塑和装置以及表演艺术之中,深入学习西方的现代艺术到后现代艺术的观念和形式,并逐步地实践,慢慢摆脱了中国雕塑传统观念上的束缚。

1993年,展望创作出了系列超写实主义人体雕塑“瞬间”,塑造了一系列人被捕时的姿势和动作,同时,展望将这些雕塑架在户外一处荒地上,勾勒出了一幅扭曲而荒诞的画面,自此,展望的这种结合了雕塑、行为与观念艺术特点的个人创作风格开始初具雏形。

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