時間:2008.2.29
地點:重慶501當(dāng)代藝術(shù)基地傅榆翔工作室
人物：張奇開教授與藝術(shù)家傅榆翔的對話
記錄整理: 李興強 四川美院學(xué)術(shù)學(xué)系研究生
張: 最近你創(chuàng)作了一些新的作品，能不能結(jié)合這些作品談一下對當(dāng)代藝術(shù)的理解？
傅: 我有一種很簡單的想法, 就是以前的路子畫得自娛自樂,對自己缺乏挑戰(zhàn), 沒有嶄新的東西，這樣對自己沒有交待。而當(dāng)代藝術(shù)包含的范圍很深,很廣 ,更貼近我們當(dāng)代生活所面臨的一切，基于此,我想努力地靠近并能夠融入到當(dāng)代藝術(shù)中來。
張: 重慶這個地方的藝術(shù)生態(tài)確實存在問題，除了四川美院以外,幾乎沒有人對當(dāng)代藝術(shù)感興趣。
傅: 的確是這樣。
張: 藝術(shù)理想是我們年輕時候的一種追求,通過藝術(shù)表達我們的生活態(tài)度。而現(xiàn)在，上個世紀(jì)七八十年代的理想主義狀態(tài)早就過去了，舊的模式已經(jīng)不能再用，它介入不了我們今天的生活，必須重新尋找。這個新模式的系統(tǒng)也可能完全是來自西方，但沒有關(guān)系，文化是一個通用的場所，大家都可以提取我們所需要的方式——無論東方的、西方的、過去的、現(xiàn)在的，當(dāng)下的。所以從這個意義上說，要把握好思索的立場，通過藝術(shù)來關(guān)心當(dāng)下的生存狀態(tài)；要進行藝術(shù)創(chuàng)作，必須要立足當(dāng)下，與當(dāng)下的精神處境發(fā)生直接關(guān)系。例如我們過去說必須深入生活和觀察生活，這個沒有錯,問題是過去那個時代是帶著一種虛構(gòu)的態(tài)度去觀察生活，其結(jié)果是可想而知的。當(dāng)代藝術(shù)面臨的是真實的處境，而不是想象的一種狀態(tài),不是虛假的理想主義狀態(tài)。作為人的社會，它制造了太多的問題，因此藝術(shù)家有責(zé)任對此保持一種批評的姿態(tài)，而不是膚淺地贊頌。
傅: 關(guān)于當(dāng)代，我以前畫的《樹妖》，《佛歷浮想》，《景語》，《藏地•藏地》，《飄靈》等作品, 一路走過來,一直都在想“破”，尋找一種新的敘事途徑。你曾經(jīng)對我說，當(dāng)代藝術(shù)就是挑戰(zhàn)極限，做別人沒做過的實驗，必須躋身前列。在這個過程中我還是很猶豫，很痛苦和彷徨的，雖然畫了很多畫，常有不知所措的感覺，因為覺得確實很難。比如你在帶川美兩屆油畫畢業(yè)班的時候，他們的畢業(yè)作品展我都看過，有些我很喜歡，有些覺得有點飄浮不定，但我知道它是一個新的系統(tǒng)。很長時間我都還無法去認(rèn)可它，去解讀它。我是從前年年底搬到501來的，黃桷坪這里經(jīng)常有頻繁的展覽、講座；比如在涂鴉一條街開展那次活動中501搞了一個論壇，王林的學(xué)術(shù)主持, 其中有你、王南溟、鄒躍進等的演講。對于我來說受益匪淺！我覺得眾多的學(xué)術(shù)活動，對于尋找自己，領(lǐng)悟自己，或者證實自己，探求一個最佳的切合點，起了很好的作用。
張: 從你過去畫的《樹妖》的整個系列，還有其他作品，我都是看過，畫的很不錯，也有一定的思想，但是我覺得這些作品還是上個世紀(jì)的感覺。這是因為上個世紀(jì)八九十年代，中國藝術(shù)家才開始關(guān)心自己，那個時候的藝術(shù)家還沒有掙脫那個時代的限制。而西方，在19世紀(jì)末20世紀(jì)初，藝術(shù)家就從個人出發(fā)，關(guān)心自己。這是時代的一個標(biāo)記，就是浪漫的、理想化的狀態(tài)，但是一個過去時態(tài)。當(dāng)代藝術(shù)是研究整個現(xiàn)代性，研究整個世界，研究當(dāng)下困境。這和中國上個世紀(jì)八九十年代不一樣，過去藝術(shù)表達的是虛構(gòu)的精神繁榮,今天的藝術(shù)反映的是真實的現(xiàn)實焦慮。
傅: 所以我在找尋的過程中，請你來看了幾次。記得你跟我說過，你無法“指路”，但是可以“擋路”。被你“擋”了幾次以后，我的信心還是很受打擊，但是那一次我很開心。因為開始畫了黑白的作品，你看后說：感覺對了。那一瞬間，我覺得自己仿佛登上了一個山峰，暫時脫離了負重的自己，有看到一點曙光的欣慰。
張: 我可能從事藝術(shù)的時間更長一點，見的多一些，所以作為一個老師，我面對眾多的學(xué)生沒有辦法通過某種方法給他們指出一條行之有效的路來，因為每個人都必須走一條自己的路。但可以“擋路“，“擋路”是什么意思，就是通過我的經(jīng)驗可以判斷你做得正不正確，然后讓你通行或讓你繼續(xù)尋找。當(dāng)時看了你畫的黑白的那一組畫，我覺得能夠做成一個系統(tǒng)，而且可以持續(xù)發(fā)展，于是，讓你通行了！
傅: 所以從那時起我有一種輕松的感覺，原來的畫注重玩味和精細，為了畫畫而畫，還停留在尋找繪畫語言的階段，和當(dāng)代現(xiàn)實沒多大關(guān)系。而現(xiàn)在的這批畫找到了跟我生存的當(dāng)下以及我內(nèi)心的種種情緒、思想和焦慮的最佳言說圖象和呈現(xiàn)形式。
張: 那是因為當(dāng)代藝術(shù)變化萬千，它沒有一個統(tǒng)一的標(biāo)準(zhǔn)，是用直覺來判斷的，而每一個藝術(shù)家都是一個獨特模式。你過去的畫一看就是停留在上個世紀(jì)的迷戀中，你現(xiàn)在這批畫一看就覺得是一位當(dāng)代藝術(shù)家的作品，因為它們“在場”。藝術(shù)不需要停泊，不需要重復(fù)，藝術(shù)需要推進；創(chuàng)新，那太難了，我們并不一定非要創(chuàng)新，但應(yīng)該在前人的基礎(chǔ)上進行添加。
傅: 自從來到這里，我去過很多的工作室，你的工作室，郭晉、楊述他們的工作室，還有成都何多苓,羅發(fā)輝的工作室,記得有次看郭晉畫的黑白灰的《烏鴉先生》那批作品，我很喜歡。他就對我說：你也可以畫一些黑白灰色調(diào)的畫。我受到了啟發(fā)，從那時起我才想畫一些黑白灰的畫，嘗試一下，最先一個人慢慢畫,找不到感覺，就像一個人吃餅子一樣，吃了1，2，3，4，5，6，再吃到7，才能吃飽，但你必須吃完6才行，而不能開始就吃第7個。重慶有那么多在從事繪畫實踐的人，但當(dāng)代藝術(shù)，最集中、最有成效的就是黃桷坪這個地方，我覺得它是一個很好的交流互動場所。
張: 它已經(jīng)成為了一個傳統(tǒng)。
傅: 2006年年底搬到這里來以后，無論自己還是其他藝術(shù)家來看，我的風(fēng)格是從這里才改變的。自從來到黃桷坪，作品有了一個根本性轉(zhuǎn)變。
張: 當(dāng)時你還是冒了很大的風(fēng)險。
傅: 對,現(xiàn)在我大半年的畫，一張也沒有買，感興趣和愿意收藏的很多，尤其是藝術(shù)機構(gòu)和畫廊。而我更想沉淀一下自己，主要是想舉辦展覽，比如個展群展等等。
張: 最好不要跟著市場走,要看得清自己的方向。創(chuàng)作出來的作品要成為好作品必須要與這個時代密切聯(lián)系，關(guān)心當(dāng)下,關(guān)心當(dāng)代性，才能引人關(guān)注。雖然藝術(shù)作品自身就帶有商業(yè)屬性，但是它絕不是一個單純的商品。
傅: 原來畫的那些畫，基本上是自娛自樂，或是自己走熟的一些路子,現(xiàn)在畫的時候自己更有一種投入感，會思考一幅畫中內(nèi)涵的品質(zhì)和誠實，還有一種緊迫感和使命感，考慮這幅畫是不是自己必須去呈現(xiàn)的東西。
張: 你除了繪畫以外還關(guān)心什么問題？
傅: 我關(guān)心的還有國防軍事、宗教信仰、哲學(xué)心理、人文地理、太空奧秘、化石考古以及神秘文化等等。
張: 這些在你的畫中都可以體現(xiàn)。
傅: 這些是我長期關(guān)注的，我?？磭业乩?、動物世界之類的東西，在這里面可以有很多意想不到的視覺感受。很多年以前我看到一篇報道，北歐挪威有個地方，有種動物叫旅鼠。它繁殖力特別強,大概一只老鼠一星期之內(nèi)要繁殖20-30只,繁殖多了怎么辦呢？它有自己規(guī)律性,有的旅鼠老了,病了,它就會變成桔紅色、橙黃色,其目的就是吸引天上的老鷹把自己吃掉,這樣還不行,它繁殖得太多,草原草場供養(yǎng)不了它們,那怎么辦？它就奮不顧身地朝著一個方向不停地跑,大概需要一個多月時間,不舍晝夜地跑一千多公里,沿途碰到石頭,碰到樹都不會躲避,不斷地撞死；遇到水也不停留,前面的抱成團,后面活著的踩著前面的尸體繼續(xù)朝前跑,沿途見到什么都不會躲。
張: 自殺式的。
傅: 對,最后跑到挪威一個海岸的懸崖邊,義無反顧地集體跳海，全被溺死，場景非常地悲壯。這類的動物故事長久占據(jù)我的心緒,很刺激我，使我對它們有特殊的感覺。我畫動物就很自然地找到素材和圖象，也很容易把它們組合成各種畫面。
張: 藝術(shù)家的作品與他的思維關(guān)系密切，他的知識結(jié)構(gòu)對繪畫影響很大。
傅: 這是潛意識和不自覺的，一直沉淀和過濾在我的心緒里。
張: 自然界確實是很神秘的，以前我是一個無神論者，相信決定論，相信自然界是有規(guī)律的，這個規(guī)律是可以被人認(rèn)識的。隨著自己年齡越來越大，知道的東西越來越多，反而感覺個人的力量太渺小了。
傅: 就像一個詩人說的：我們有神一般的想象，但是只有凡人的翅膀，飛不起來，超然不了。
張: 自然也有一個自己的“神”來管理它們，我是不信神的，但是相信有一種超自然的力量，這個力量是誰在控制？自然選擇是怎樣形成的？這是一個終極追問。
傅: 現(xiàn)在也遇到一些問題，比如說上帝的存在，現(xiàn)在航天科技發(fā)達了，但上帝找不到在哪里，那也是一種迷惘。
張: 肯定上帝找不到，他不會在太空中存在。
傅: 這也類似一個行為藝術(shù)。
張: 假如有上帝存在，他也不會是一個具體的規(guī)定。
傅: 這和我畫這系列畫呈現(xiàn)意識也是一樣的，也有一個宗教的情懷，是佛教的情懷。佛法無邊，這種無邊不是說大的無邊，是說不是極端的靠任何一邊，處于這種虛空之中。所以我每幅畫都大量的留白，讓它空曠出來，想象更多可以進入的可能。我02年去了一趟九華山，當(dāng)天晚上就住在那個山上，但是，早晨起來發(fā)現(xiàn)后腦門兒有一髻頭發(fā)沒有了，再察看枕頭、床單一根頭發(fā)都沒有, 我覺得非常的神奇，當(dāng)時也很震撼。從九華山回來以后，我看《參考消息》，正好上面有一個報道，美國的旅行者一號,二號航天飛行器,以每小時5萬7千公里的速度飛行了12年,即將飛出太陽系,后面的報道更有意思:太陽系是一個什么樣的概念？是銀河系一千萬億中的一個,銀河系是一個什么樣的概念呢？是宇宙中一千萬億星系中的一個, 我想我們?nèi)祟惛恢烂煨〉侥睦锶チ?。那是很虛幻的虛無 ,頓時升起一種無根的感覺,所以在畫畫當(dāng)中會自然而然地流露這種情態(tài)。
張: 這種宇宙觀和對自然的態(tài)度會影響你的創(chuàng)作。我覺得人類非常渺小，我們唯一能做的就是用我們自己的方法把藝術(shù)做好，用它來抵御對天際的無力遐想。這就是藝術(shù)家在面對浩瀚無窮的宇宙施加給我們的虛無壓力時獲得的小小安慰。
Art Used Against Void Pressure Imposed by the Universe
----A Dialogue between Professor Zhang Qikai and Artist Fu Yuxiang
Time: Feb. 29, 2008
Location: Fu Yuxiang Studio of 501 Contemporary Center of Art, Chongqing
Form: Audio live recording
Notes sorted out by: Li Xingqiang, postgraduate of Academic School, Sichuan Academy of Fine Arts
Zhang: We know you’ve created a couple of new works, and with these most recent creations would you please talk about with us your understanding of contemporary art?
Fu: What I have in mind is a rather simple thought, which made me realize that my previous paintings were too flaring and posed no challenge to myself with no new stuff. And I’m not even contented about this situation myself. However, contemporary art embraces a diversified range in profound depths and it’s a lot closer to the reality we have to face in the contemporary life. Based on this, I’ve made every effort to get closer to and incorporated into the contemporary art.
Zhang: Problems exist in the artistic ecology here in the city of Chongqing, and apart from Sichuan Academy of Fine Arts there is almost nobody really interested in contemporary arts.
Fu: Yes, indeed.
Zhang: The artistic ideal used to be a dream that we pursued in our younger years and we tried to convey our attitude towards life through artistic expression. While today, the idealism that were a popular belief in the 1970s or 1980s was long passed and the obsolete mode was no longer found workable because it finds a hard way into our present daily life and a new approach should be sought after. Perhaps this brand new system of mode completely comes from the west but this should not bother at all. The reason lies in that culture is a universal venue, from where everybody can take the mode that he or she wishes for ------no matter it’s western or eastern, from the past or the present. Therefore from this point of view, it’s very important to stand your ground of ideology and show your concerns about the current status of living through the expression of art; to engage in artistic creation, one must have his or her feet on the ground of reality and get directly related to the current spiritual circumstance. For instance, we used to stress on the importance of going deep among the masses and observing life, which is nothing wrong. But the problem is people in the past epoch did the observing with an imaginary attitude and the result thus obtained was palpable. On the contrary, the difficult situation that contemporary art is confronted with is a real circumstance rather than a state only in someone’s imagination or a false state of idealism. As a society of people, it has created way too many problems and for this reason artists should feel a responsibility on their shoulder to maintain a critical attitude instead of a superficial glorification.
Fu: Regarding the theme of “contemporary”, my previous paintings like Wood Sprite, Buddhist Journey in Recollection, View Talking, Tibetan Land, Tibetan Land and etc. along the way have all manifested an effort of seeking a “breakthrough” and a new approach as well. You once said to me, “Contemporary art is about pushing your limits, about trying whatever others haven’t experimented, and about getting ahead.” During this process, I was all the way hesitant, painful and at loss. Although a lot of my works also came out during this period, I did feel like I would give up because it was really difficult. For instance, when you mentored for graduates of oil painting majors in Sichuan Academy of Fine Arts for two years, I had been to their exhibitions of graduation works. Some of these paintings really impressed me while some others gave off a feeling of floating uncertainty. But I did realize that it represented a new system. It was a rather long period of time before I finally recognized and correctly comprehended it. It was the end of the year before last when I moved here in 501 and there was a high frequency of exhibitions and lectures here in Huangjiaoping back then; for instance in the activity of graffiti in the street, 501 had organized a forum hosted by Wang Lin and sparkled by speeches made by you, Wang Nanming and Zou Yuejin. I have benefited a lot from it! As far as I am concerned, a good variety of academic activities have well served as an optimum cut-in point for finding oneself, understanding oneself or proving oneself.
Zhang: I’ve seen your complete series of Wood Sprite and many others too. They were well done and demonstrated certain thoughts as well. But still I would categorize them into something belonging to the last century and that is because Chinese artists didn’t start showing a concern for themselves until the 1980s or 1990s and artists back then hadn’t broken away from the restraint of that time. While in the west at the turn of last century, artists have started to care about themselves as an individual person. This is a symbol of a whole generation, a state of romanticism and idealism, but a past tense too. The contemporary, however, focuses on the study of the entire contemporariness, the whole world in general and the present plight. This is unlike the 1980s or 1990s when the past art used to be an expression of imaginary prosperity of spirit, which is different from the reflection of real anxieties over reality by today’s art.
Fu: And that’s why I invited you for a visit a couple of times during my process of searching. I remembered you told me that you were unable to “point the way” but could “block the way”. After being “blocked” for several times, I went down with my confidence for a while. But I was also very happy because I started to do black and white paintings since then. You then commented after seeing my works, “That’s it now”. I suddenly felt like I had finally made it to the top of a high mountain and for a while have floated away from myself, really relieved, the kind of comfort when you saw a silver lining of a cloud.
Zhang: I might be engaged in artistic creation for a longer period and seen relatively more in this field. As a teacher facing a great number of students I’m not able to rely on any means to point out a feasible as well as effective way because each individual has his or her own way to blaze. However, what I can do instead is to “block the way”, which means that I’m capable of making the judgment as what you do is appropriate or not and then let you pass or keep searching. When I saw your collection of black and white paintings, I immediately felt that a system is possible and it is capable of sustainable development as well. As a result, I made you pass.
Fu: That’s why I also felt a relief or relaxation ever since then. The previous works all had a focus on a thought-provoking nature and delicacy although with a magnitude of talent and power. The works in that period were created solely for the purpose and pleasure of painting and still remained at the phase of seeking a painting language and therefore had nothing really related to the reality. These paintings, however, have found the best verbal image and representative form for the various moods, thoughts and anxieties of all kinds that are related to my present existence as well as in my mind.
Zhang: The explanation is due to the variation of contemporary art and there is no such thing as a unified standard. It is judged by intuition and each individual artist represents a unique mode. I can tell your artistic creations in the past were an obvious obsession with the last century while your current works can be easily categorized as the paintings by an contemporary artist at glance because these paintings are “on the spot”. Art doesn’t need parking or repetition, but rather a push-forward; innovation can be really difficult to achieve but we may not necessarily need that. But what we can do is a bring-in on the basis of our predecessors.
Fu: Since I’ve moved here I’ve been to a lot of studios such as yours and those of Guo Jin and Yang Shu. When I saw the black and white Mr. Crow series by Guo Jin, I was immediately in love with them. Guo Jin then said to me, “You can also try with black, white and grey tone.” This came as a major enlightenment to me and ever since then I started the creation with white, black and grey tones. The trying began in a fairly slow and laid-back fashion but was not so much of a profound perception. It was like people eating pizzas. You started with one pizza and then moved on to the second, third, fourth, fifth, sixth and the seventh until you feel you’re full. In this case you can never skip the first 6 pizzas and jump to the very last one directly. With a lot of people in Chongqing engaged in painting practice, Huangjiaoping has always been the most concentrative and effective spot in contemporary art and I think it’s a very good platform for interactive communication.
Zhang: It has well developed into a tradition.
Fu: My relocation here was back in 2006 when, in my own point of view or in other artists’ eyes as well, my style has undertaken a kind of change. This change was actually fundamental ever since I moved here in Huangjiaoping.
Zhang: You still put a lot at stakes, didn’t you?
Fu: That was for sure. I didn’t sell any of my paintings created in recent half a year while a lot of people showed interest in collection and among those would-be buyers are most art organizations and art galleries. I would want a retrospect and allow my thoughts precipitate. I’m thinking of having exhibitions of my own like personal exhibition or group collection.
Zhang: My suggestion is you should not misled by the market and should have a clear idea about where you’re going. All masterpieces bear a close relationship with current times and only the contemporariness can catch people’s attention. Although artistic works themselves are commercially labeled, they can never be taken as a pure commodity.
Fu: Those paintings in the past were basically self-entertaining, showing off artistic passion or simply doing what I already felt home at. With my current creation, however, I feel a more strong involvement and will think about the quality and honesty conveyed in the connotations of a specific painting. Besides, a sense of urgency and mission will also start me thinking about the fact that this painting is what I have to present or not.
Zhang: Is there anything else you care about apart from the painting?
Fu: I’ve got a wide range of concerns: national defense and military affairs, religious beliefs, philosophy and psychology, cultural geography, mysteries in deep space, fossil archeology, mysterious cultures, etc.
Zhang: All these can find expressions in your paintings?
Fu: These are the themes that have always captured my attention. I often watch National Geographic and World of Animals channel and they can offer you quite a lot of unexpected visual sensations. It was quite a while since I read a report about this place in Norway in northern Europe where a kind of animal called lemming has a surprisingly strong reproductive capacity. Roughly, an adult female lemming can give birth to 20-30 baby lemmings within one single week. Then what about the over breeding? They have their own regular rule to solve this problem. When some get old or sick, their bodies will turn into a kind of orange color and the purpose for this is to attract the attention of their predators like eagles up in the sky. If this doesn’t work out and proliferation unfavorably continues at a rate too fast for the capacity of the prairies and rangelands, what will these little creatures do then? Quite surprisingly, they will desperately keep running towards one direction. The running may last about one whole month during daytime and at night as well for a total distance of over one kilometer. They will make a daring dash towards anything that comes in their way, including stones and trees without the thought of dodging. As a result, a great number of lemmings will get killed in this way. They will never stop in front of rivers either, in which case the front runners will unite in a clump and those coming up will cross the water by stepping on those dead bodies and keep running forward. They will never dodge along their way.
Zhang: Kind of suicide?
Fu: Definitely. When the masses finally make it to the cliff along the Norwegian coast, they will fearlessly conduct the collective act of jumping off the cliff and get drowned in the sea. That is something tragically heroic. Similar stories about animals keep occupying my mind and stimulating my nerves. I gradually feel a special attachment to them and naturally they have found a way into my works as object matters and images. It is also easy to combine them into different pictures.
Zhang: Artist’s creation has close relations with his or her way of thinking, and the artist’s structure of knowledge is also an influential factor to his or her paintings.
Fu: This is subconscious and involuntary, always precipitated and sifted in my thoughts and feelings.
Zhang: The nature is a great mystery indeed. I used to be an antitheist and always believed in determinism, which states the nature has its own rules and such rules are graspable. As I get older and older with knowledge piling up, I feel my personal power becomes more and more insignificant.
Fu: Just like a poet once put it: we have an imagination that only God possesses but we have only wings of mortals and therefore can never fly up into the sky. There’s no transcendence.
Zhang: The great nature also has a “God” of its own to govern it. I do not believe in gods but I do believe there is a supernatural power. Who is in charge of that great power? How does this power come into being? This is an ultimate question.
Fu: Now there comes a series of questions to tackle, for instance, the existence of God. Space science and technology have seen a great development in the world today but we are instead at a loss as to where to find the God. This is also confusion.
Zhang: It’s for sure that God will not be found because he’ll never exist in the space.
Fu: This has similarity to an action art.
Zhang: If God really exists, he will not be a specific regulation either.
Fu: This is the same as the expression of consciousness through this selection of my paintings. There’s also a religious feeling, a Buddhist feeling to be specific, involved. The power of Buddha has no limits and this kind of “l(fā)imitless” should not be understood in a confined context of physical magnitude, but instead should be explained as an unbiased position with no extreme preference and be placed in vanity. Therefore, each painting of mine has left a lot of vacant space without any occupation and this is for leaving room for more imagination to come in. I traveled to the Jiuhua Mountain in the year 2002 and took my lodge on that mountain that night. However, when I woke up in the next morning I found a tangle of hair missing at the back of my head. I checked the pillow and bed sheet and found no traces of any hair. I thought it was quite magical and was shocked too. When I came back from my trip, I read an issue of Reference News which carried a report about American aerospace crafts Voyager 1 and Voyager 2 which had traveled at a speed of 57000km/h for 12 years and would soon fly out of the solar system; the latter part of the news coverage is even more interesting: what is the concept of solar system? It is one of the quadrillion of the Milky Way system. Then what is the concept of the Milky Way system? It is one of the quadrillion of the galaxies. It is not worth mentioning how insignificant we human beings are. That is a rather illusive emptiness and it immediately arouses a rootless feeling, which consequently and naturally finds expression in my paintings.
Zhang: This cosmic view and the attitude towards the nature will definitely influence your artistic creation. As far as my understanding goes, mankind are insignificantly small and lowly, and what we can only do within our range of capability is to do art right by relying on our own means and then use it to fend off the powerless reverie about the sky. This is the minor comfort that artists obtain when confronted with the void pressure imposed by the immense and infinite universe
【編輯：劉珍】
