Y 袁进华

通往自我的道路

——袁进华的《拥抱》系列解读

顾丞峰

初看袁进华的《拥抱》系列,让人完全摸不到头脑。画面中的串串似乎身着袈裟的小人,折腿相抱,叠罗汉一般;在山石的背景下,摆出各种各样的造型;山水树石也完全概念化。偶尔有些纸折的小飞机和乌鸦点缀在画面中。

他的画要表达的是什么?

由于我对画家完全不熟悉,简单分析一个图式的作品容易犯主观错误,可能会导致过度阐释,过度阐释既不负责任,也容易望图生义,以致说服力下降。本人只得动用网上的资源搜索,还好,他可资参考的作品数量很多,这些作品和文章似乎提供了什么,但距离《拥抱》系列的解读还是比较遥远。

通过阅读作品,从时间序列看,能够感受到的一点是:袁进华的《拥抱》系列自有其生成的基础,那就是他的随意和率性。从其作品的一贯风格变化来看,他属于率性而为的一类画家。所谓率性而为,是与另一种“处心积虑”类型画家相对应而言的,这类画家对个人的图式,对个人的市场形象和公众形象有周密的策划,尽管很累,但一旦成功也会为人仰视;而率性而为类型则是指:对自己并没有太多的预设,走到哪打到哪,什么时候一高兴,可以让人大吃一惊或者摇头蹙眉,这类画家活得轻松,虽然成为大家的机会不是太多,但却更符合人的自由天性。

袁进华的作品一贯跨度很大,就我所能看到的,既有略显生涩的“蹦跳”系列,也有风情满溢的“西湖情事”系列以及“儿童”系列,还有率性而为之的“旋转”系列,直到现在看到的“拥抱”系列, 面貌之多差异之大,令人难以将其视为同一人的作品。

如果将“拥抱”放在全部作品的上下文中,任何观者都会感到突兀。突兀在哪?前面所提及的“蹦跳”系列、“西湖”系列、“儿童”系列等虽说出自画家的率性,但都能在大众审美需求层面上找到契合点,或者说表达的意念是公众能够安然接受或者司空见惯的。而“拥抱”系列则不然,它与公众的契合点已经完全断裂。

同公众的断裂对我也同样有效,只不过我有责任将这种断裂连接起来。我只能通过图式上诠释,而且是适当的诠释。不求能接近作者的本意,如果能够拉近公众与这个系列作品的距离就心满意足了。

“拥抱”这个动作符号,在当代造型艺术中人们应该不陌生。九十年代末期高氏兄弟的行为艺术就有“拥抱”系列,而且是真正人与人的拥抱记录。高氏兄弟的拥抱作品是鉴于当代社会人与人距离的疏远而为之,场面的铺排犹如美国著名人体摄影家图尼克的巨大场面的裸体众生横陈。其实他们所表达的观念上相去并不远。

袁进华的“拥抱”相对来说就个人化得多,与其说是“拥抱”,还不如说是“抱”更合适,因为只有个别动作符合真正拥抱姿态,大多则像是杂技中的杂耍叠罗汉,由支撑在最上方的人发出动作,或是撒布纸飞机,或是手中抓着两条小鱼,其动作的指向性不明,如同梦幻中的奇景。

这种拥抱更像是一个游戏,既没有传达出什么传统的意味,实际上他正是在不经意间解构着传统山水绘画。

这种奇诡动作所匹配的场景也别有特色,背景算不上山水,只能称之为山石,而且石群扭动,作者并没有使用传统中国山水的皴法;河流更是诡异,像一条带子飘在石间,以绿色平涂,与其说是水,不如说是画面中的一条色带;如果还有什么与传统水墨发生关联的话,那就只是画家用毛笔随意拂扫的墨线条,有的似乱劈材,有的似铁蒺藜,偶尔有几只“枝头踟蹰的黑鸟”落脚其上。

奇诡的场景、奇异的动作、奇怪的气氛,难道人们能从中体味出作者所说的“天人合一”和“物我两忘”?即使有了画家对创作缘起的描述,我们仍然很难将此联系起来。画家在他的“答问录”中是这样说的:“在山水之间,我认为最能传递一种“拥抱”的精神。人与自然的关系就是如此:从“饱游卧看”到“神飞扬、思浩荡”,到“诗中有画,画中有诗”,到山川草木物我为一”。

显然这种表述是概念化的,我认为并没有透露出作者的心迹。

俗话说言为心声,那画应为心迹。如果这种图式动作表达了作者的某种真实或者暧昧难以言表的心态的话,那么即使难以言传,画面中所透露的奇谲效果当不是日常的经验所能表述的,很可能是画家私密的情愫,或者是某种梦中的原型的表达。联系起画家在被问及受到哪些国外艺术家影响时,袁进华曾提及到达利。达利的超现实主义正是一种非理性的表达,画面的各种物形组合奇异,达利从不做解释,而是把它归于一种“偏执狂的批判”了事。那也是他的成功之处。

联系起此前的袁进华的几个系列中的日常化和理性化画面处理,这种不知何处飞来的灵感就显得难能可贵,实际上更出自于作者的内在表达需求,不掺假,不媚俗,从个人出发,不考虑市场的接受,这才是一个艺术家所应当秉承的创作理念。

从《拥抱》系列来看,袁进华的作品有走向自我的肆意表达的苗头,但究竟是灵光一现,一种插曲似的随意表达,还是一种转变的开始?由于这个系列还是个案,从其一贯的行为逻辑推断,很难说他会不会朝着类似《拥抱》系列这样的个人化路径长期走下去。

无论如何,艺术应该面对现实擎起批判的旗帜,或者面对自我挖掘人性的深幽;舍此艺术只能面对市场,这也是个规律,虽然成为生活的点缀也是艺术的功能之一,但我想,想成为艺术家或者想成为大艺术家的人都不会仅满足于此的。

2009年6月于金陵月牙湖

 

A Road to Self By Gu Chengfeng

Yuan JinHua’s Hug series is very confusing. The strung-together little people who seem to be dressed in kasayas, hugging with their legs twisted like pyramids,against a background of mountain rocks, show us various poses. The mountain,water,tree,and rock are all conceptual. Sometimes, we can also see crows or a little paper airplanes. What is he trying to say through his paintings?

By analyzing his works, for a period of time, we can feel that the basis of the Hug series is the unselfconsciousness and forth-rightness of the artist. As we can see from his works, he brings to the group of artists who do things according to their own conscience. He is forthright compared with those who”scheme”:the artists who have a thorough plan about their marketing and public images, which might take them great effort,but once they succeed,they can get the respect they want. The forth-righteous artists do not have many restrictions and they get along. Once they are happy ,they may surprise you or make you shake your head. They are free and easy, although they will hardly become masters.

Hug as a symbol of posture is not unfamiliar for contemporary graphic arts. The Gao brothers had Hug series of performing art, which is a record of real human hugs. They did it to claim the distant relationships between people. The organization of the scenes is quite similar to American photographer Spencer Tunick’s naked states. And in fact, the ideas they want to express are also close.

In comparison, Yuan JinHua’s Hug series is a lot more personal. It should be called”hold”rather than “hug”. Very few postures fit the definition of hug; most of them look like they doing pyramid sport where the highest person is giving out instructions, or holding two little fish in their hands, or spreading out like paper airplanes. The actions are uncertain, just like wonders in a dream. This hug is more like a game that does not follow any tradition that deconstructs traditional landscape paintings.

The weird actions with a weird background can only be called mountain rocks instead of landscape. The rocks are twisting, in which we cannot find any traditional landscape skills. The river is even stranger: it looks like a ribbon swinging among the rocks, flat and green, more proper to be named color ribbon instead of water. If there are any connections in his work to traditional ink and wash,that would be the black wires the artist carelessly put up with a brush pen;some are like hackled firewood, others are like caltrop, sometimes with a blackbird lingering around.

Strange scenes, postures, and atmospheres... how could they make us feel what the artist describes as “all is one”and “forgetting the boundaries”?Even with the description from the artist about the origins of his creation,we are not able to put them together. The artist said in his Q&A session: I think it is possible to express a spirit of hug among the mountains. It is like the relationship between humans and nature:from”lying down and enjoying the sights”to”thoughts flying,spirit high,”from”scene in poetry in scene”to”the union of nature and I.”

Obviously, this statement is too conceptural to reveal the artist’s true feeling. If language speaks for the heart, then a painting is an expression that cannot be explained by daily experience but can only be presented as a dream. The artist mentioned Dali as his influence when asked about his favorite foreign artists. Dali’s surrealism is an irrational expression with weird combination of substances and shpes. He never explained; instead, he only said it’s a “paranoid riticize,”which is partly why he is so successful. Yuan JinHua had created several series of ratinal and regular paintings;compared to Dali’s surrealism, this inspiration that comes from nowhere is precious for his inner needs of expressing. Everything starts from himself without being fake and catering to public taste, without considering the acceptance of the maket, whichi should be the creative idea an artist adopts(extracts).

From “hold” series, Yuan Jinhua's works have the signs to Freely express themselves. But was this an inspirational flash, or an episodic freely express, or the beginning of a change?Because this series is just an individual cases,from the consistent logic of action, it is hard to say that he won't toward personalization path similar to “hug” series.

 In any case, art should face the reality,rise up the criticism banner,or face-self to explore the deeper humanity , besides that, art can only face the market, this is a rule. Although embellishment is one function of art,But I think the ones who wanna be an artist or a great artist will not get satisfied with this.

2009 Gu Chengfeng:Art Critic