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【评论】叠变 Metamorphosis

2012-06-27 15:38:02 来源:艺术家提供作者:赵力
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  美国作家约翰•厄普代克曾经说过,“每一代人当尘埃落定时都是沉默的。我们身处的世界永远不会没有危险和不幸,但历史会给我们着色。”事实上我们的降生即是降生到历史之中,并在时空的不断流转间完成着各自的使命。艺术家,虽然是一类人的特殊称谓,但是他们同样无法跳离开这样的命运,正如出生于新疆的帕拉(Palla Jeroff),他既有着维吾尔族所特有的骠悍和热情,同时也有着与新疆与生俱来的文化历史的关联。新疆是一块神奇的土地,而从文化传统的角度而言,亦如季羡林所认为的,“世界上历史悠久、地域广阔、自成体系、影响深远的文化体系只有四个:中国、印度、希腊、伊斯兰,而这四个文化体系汇流的地方只有一个,就是中国敦煌和新疆地区”。传统多元和文化交融的现象在新疆地区艺术创作中表现得尤为明显:中亚伊斯兰细密画的渗透、古印度佛教艺术的传播是源远流长的影响脉络,对俄罗斯及苏联艺术风格的积极参照、与新中国以来美术创作主流的相互激荡则是20世纪以来的面貌格局。对于多元传统和文化交融,帕拉很早就接受并视其为自我艺术的发展基础,并且更希望在一个更为宽广的视野中去结构自己艺术的未来。

  “We all remain silent when it comes to the end of every generation. The world we lived in never escape the cycle of danger and misfortune, but the history will give us the color to show our identities.”----John Updike. In fact our birth was actually a part of the history, and we are all trying to fulfill our own destinies through the entire cycle of time. Although “artist” is a kind of identity that this kind of people shares, but they still can’t escape the very same destiny. Palla Jeroff decent the passionate and wild personalities from his birth place XinJiang, but at the same time he also obtains a great relationship with in the culture and history of Xinjiang. Xinjiang is an amusing place, just like Ji Xian Lin once said that Xinjiang is a historical place with a unique culture. As a matter of fact, we all known that the most influential cultural systems in this world are; Chinese culture, Indian culture, Greek culture and Islamic culture, and those four cultures combine in one place; Xinjiang Dunhuang. The combination between the traditional culture and the multicultural cultures can be easily found in varieties of art works. During the 20th century the Miniature art styles from the Middle East, the ancient Buddhism art system from India, the art of Russian, and the Chinese art styles after the foundation of new China collided in the art fields of Xinjiang. Towards the combinations of multicultural art styles, Palla has already accept and use it as a foundation of his art developments, and look forward to construct a more visionary future for his art works.

  在西安帕拉完成了自己科班的美术教育,而这一时期正是中国美术向当代剧烈转向的整个80年代。面对国内外各种美术思潮,帕拉同样采取了积极开放的态度,他并不排斥也不深陷其中,而是开始逐渐强调独立的审视和分析的研究。对于艺术追本溯源的初衷,很快让帕拉下定决心去国外一闯究竟,这也是帕拉离乡别土只身前往澳洲的真正动因。澳洲与新疆有着很多的相似,这不仅是地理风貌上的相似,更是文化多元上的相似。因此,如鱼得水的帕拉也很快就适应了澳洲的生活,并在文化宽容度的基础上更累加上了个人创作的想象空间。虽然在国内的时候即对抽象风格情有独钟,但是到了澳洲帕拉才真正痴迷上了抽象艺术。在他看来抽象已经不再是某种风格的代称,而是文化观念的表达和纯粹精神的诉求,因此帕拉的艺术转向和风格定型的确隐含着个人面对历史传统的主动选择,同时也反映了他从方法论的浅层表面逐渐专注深入的认识论过程。

  Palla finished his art education in Xian during the 1980s, and it was during that period of time, Chinese art were under a great tide of revolution, because it was the turning point of the Chinese contemporary art. Facing bith the concepts of Chinese art and western art, Palla opened himself up to all those different concepts. He did not ignore nor obsessed with any of them, instead, he starts to analyze all those concepts independently. Because of this belief, Palla decides to take a chance abroad to trace the origins of art. Australia’s is kind of similar to Xinjiang, both from the geographical background and its multicultural background. Therefore, Palla got used to the lifestyles of Australia very quickly, and obtained more space for imaginations. Although he had a great love towards the fields of abstract art back in the days he was in China, but he actually became more obsessed towards it during the days in Australia. In Palla’s concepts, the word “abstract” can’t be define as a kind of style, it’s actually a demand from our cultural concepts and spiritual needs, and Palla’s arts also obtaining those choices he made towards the history and traditions, which at the same time represent the surface of his methodology and epistemology.

  从帕拉稍早的抽象作品来看,基本是架上绘画的作品类型。选择绘画作为自己的创作媒质,只是帕拉认为它更适合自己的表达,更接近于自己的内心,别无他意,而在作品中帕拉特别强调的是画面的流动性。流动性,既反映于色彩在画幅表面上的尽情流淌,更反映在画面结构上的那种不确定性,为此帕拉也开始大量使用稀料、薄彩、印拓,辅以排笔、刀具和吹风机、喷枪等各式工具。画面的流动性,首先便于画家的自由性表达,尤其适合于帕拉独特的精神气质和直接的表述方式,而自由奔放、随处灵机的画面生成又很容易对应于帕拉的文化身份遥接悠远的东方传统,从而形成彼此交融又尊重并存的文化态度。事实上工作室状态的帕拉也值得大家关注,因为画面的流动性已将创作过程变得更加得迷人——作品只是创造的成果记录,过程却是创造的孕育生发。帕拉很快就认识这点,他将自己的工作室搬移到了美丽的悉尼蓝山(Blue Mountian),在一片纯净安宁之中逐渐建立起了属于自己创作的“独立王国”。

  From his early abstract works, they are all basically easel paintings. The reason Palla chose to use painting as his own creation media is only because he thinks it’s a more suitable way to express himself, and it’s also close to his thoughts and heart. We can tell from Palla’s works that he mainly focus on the “flow” of the image, while the “flow” can be seen from the colors, and the unstable structures he creates on the image. In order to do this, Palla vastly using tools and materials like thinner paint, Bo cai, Rio seal with pai bi, cutting tools, dryers, and spray guns, which creates the flow that easily express the artists free personalities, especially suitable for Palla’s unique spiritual characteristic, his culture backgrounds and oriental traditional background, which creates an attitude that combine both cultures together. As a matter of fact we could also pay attention to Palla’s working conditions, because the “flow” already made the creational process more charming----the work itself was only a document for the results, but the process was the miracle of creation. Palla realized this fact, and moved his studio to the Blue mountain near Sydney, bind into this quiet and pure place to create his own “independent kingdom”.

  即便文化宽容和多元并存是帕拉的艺术原则,但是在“文化迁徙”所带来的接触、碰撞、融合之中,“文化记忆”往往会变得越来越挥之不去。“文化记忆”的挥之不去很容易导致“乡愁”的情绪,而董桥也曾经说过,“不会怀旧的社会注定沉闷、堕落,没有文化乡愁的心井注定是一口枯井。”作为对“文化记忆”的自我解读,帕拉开始强调某种的切实回归,而随着年龄不断增长的“乡愁”也令帕拉乐意放弃在澳洲的恬淡舒适,不仅选择在悉尼、北京之间不断奔波,更在北京郊外简陋的画室中怡然自得。帕拉也试图以某种从环境到情感的变化来唤起个人创作的变化和变化的各种可能性,事实是创作上的变化的确接踵而至。帕拉的近期作品,虽然仍保持了平面架上的作品性质,然而有别于之前的流动性,画面出现了明确的形塑。在画面中,帕拉强调了肌理的多变和色彩的堆积,也就是说画家有意识地以某种针对流动性的反制来做出限制。当然,“凝固”既是针对流动性的限制,也是来自流动性的结论,同时也是结构性的成果。帕拉认为随机和多变只是自己艺术的一个方面,而变化只是动机并非是终极目的。帕拉针对结构性的努力,既形成了具有张力的视觉传达,同时又在一定程度上打破了平面和立体的既有界限,从而形塑出物质和精神交相辉映的形式语言。

  Although culture tolerance and multicultural diversity is the key of Palla’s works, but under the collision and combination of culture migration, culture memories became more and more harder to throw away, which creates the “home sick” atmosphere. Dong Qiao once said that a culture without “home sick” must be depressing like a dry well. Palla tries to emphasize a kind of “return” in order to define the “culture memories”, as he gets older, this home sick got the best of him, he happily gave up the comfortable lives in Australia and chose to going back and forth from Sydney to Beijing, he even rent a very shabby studio to paint his works. Palla also tries to summon the changes and possibilities of his creations from the changes of the environment and feelings. Palla’s recent works still kept the characteristic of his easel paintings from the past, but with a different flow, the image appeared with an actual shape and figures. From the image, Palla emphasize the changes of colors and its accumulations. It means that the painter intentionally restricts the “counter flow”, but of course solification is ont only the restriction of the “flow”, but also the conclusion of the “flow”. Palla thinks that random and changes are just one phase of his art works, and change was only a motive not a goal. The effort that Palla do towards the structures creates a great convey to our visual concepts, also at the same time break the limitation of plane and stereo, which creates a language that shine through physical concepts and spiritual concepts.

  同样值得注意的是帕拉近期作品中所呈现出来的那种宏大而精微的表述方式。的确,我们所在的世界,外在表现难以一致,内在矛盾则更为深刻,但是帕拉仍然试图以自己的艺术方式去揭示出那种对立统一的方法论。正如帕拉在近期作品中所呈现出的那样,画面中充满了各种的矛盾和冲突,而各种的矛盾和冲突又统一于画面。或许,帕拉想以这样的方式去预示世界万物的本无芥蒂,而所有的界限即源自我们的内心欲望。亦如约翰•厄普代克曾经说过的话,“人类因其内在的冲动和冲突总是不变的,我们动物性的乐观主义和我们规划自己的未来的智力不受历史的束缚”,是故,帕拉在艺术上的叠变,反映的既是对历史传统的尊重,也是对历史传统的脱逸。

  What we should also pay attention to is the ways of expressions that Palla’s recent works shown us. We have to admit that the world we lived in nothing looked the same from the outside, and we can have more differences from the inside, but Palla still tries to use his artistic ways to show us the similarities of us. Just like Palla’s early works, the painting shown us pictures of conflicts and arguments, but all those contradictions are all binding into one picture. Maybe Palla wants to use this method to predict a world without differences, and all those limitations and restrictions are all from human’s primal desires. Like John Updike once said “human’s inner desires and conflicts will never change, but our primal optimistic made our intelligence free from the restrictions of history”. Therefore, Palla’s art metamorphosis not only show us his respect towards the traditional history, but also his “self-refine” towards the traditional history.

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