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《贵在上海》:绘画的方式对你来说意味着更大的自由还是更多的限制?兀鹏辉:对很多艺术家来讲,艺术并不自由,也不会认为作品是才华的结果。像弗洛伊德这种结结实实的画家,你看他画得多吃力啊,怎么会自由呢?他要牺牲掉很多东西,他的朋友都不会把他电话给别人,怕别人打扰他。终其一生,他只能持续做一件事,一直非常吃力,这意味着其他选择的丧失,意味着没有自由。 《贵在上海》:你的作品大部分都是描绘自然风景,为什么从风景画进入艺术创作?兀鹏辉:我想是把其他东西排除后,才得到的结果。很多人的绘画都不由自主地指向一个事件,甚至画肖像也需要一个场景,我则不喜欢叙事的成分。拿中国传统绘画举例,为了表现闲散和乐游,很多山水画中会出现一些人物,像牵驴的老人,但我认为那是非常多余的,本来挺好的山水画,人物的出现反而降低了这幅画的格局。 《贵在上海》:自然对你来说,除了作为绘画的素材之外,会有其他潜在的含义吗?举例说,传统的山水画,有可能是画家为了表达士人精神时的创作。兀鹏辉:西方画家也有画树林的,约翰·伯格讲过,“画家画丛林,是因为他们选择把丛林当做他们心的安放处。”对我来讲,并不存在这种感情,而是因为喜欢素描,喜欢色彩,才创作与自然风景相关的绘画。即便是画个垃圾堆,它也要足够丰富,有整体的调子,有一些闪烁的东西,有可供我施展素描的地方。

VANTAGE: What does painting mean to you? More freedom or more limits?

Wu: For many artists, art means little freedom. Look at Freud. He painted painfully. How could art be free for him? He sacrificed a lot and devoted his entire life to painting the sole mission. It is the loss of freedom.

VANTAGE: Most of your works are landscapes. Why you are so fond of landscapes?

Wu: I think it’s a naturally selection for me. Many painters are eager to direct to a subject, but for me I don’t like elements of narration. Take traditional Chinese paintings for example, landscapes are often interrupted by people walking, which I think are unnecessary and weaken the overall effect.

VANTAGE: What does nature mean to you other than subject of painting. Is there any deeper meaning, for instance showing the spirits of painters in traditional Chinese paintings?

Wu: John Berger said that painters choose forests in which reside their minds. It doesn’t work on me, though. I like sketching, and colours, and then I paint landscapes. Even a pile of garbage, as long as it’s rich in colour and has something attractive, I would paint it on canvas.

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