如果沒有特別的說明，抽象主義是無法解釋的?；蛘哒f，如果缺少一個視覺的上下文，比如，對肌理欣賞的訓練，對點線面組合的研究，對平面形式及其意義的學習，抽象主義就無法和胡亂涂鴉劃清界限。
但是，這還不是最重要的，因為在現(xiàn)代主義的藝術(shù)語境中，胡亂涂鴉早已獲得審美的意義。在我看來，最重要的是，抽象主義標示著這樣一種傾向，那就是對物像的恐懼。
通過對偶像崇拜的研究，學者們發(fā)現(xiàn)，對物像的依賴幾乎是每個人天生的習性。他們指出，所有缺乏一神教洗禮的民族，他們的信仰幾乎都要被各種物像所包圍。他們發(fā)現(xiàn)，只要一個物像偶然之間和某些讓人滿意的結(jié)果掛上了鉤，這個物像就會迅速上升為崇拜的對象，同時被一系列的特殊解釋所定義。于是，偶像就成為了我們所賴以生存的環(huán)境與社會的重要象征物。同時，就個人而言，即使是生活在一個偶像崇拜的大環(huán)境中，他們也往往會尋找到與自己成長密切相關的物像，并以此為基礎，逐漸發(fā)展成特殊的戀物僻，并通過這種僻好，最終建立起個人的神秘情感通道。
李華的作品，向我提示了上面所說的道理。
第一次看李華的作品時，我覺得自己并沒有被其中的抽象因素所迷惑。直覺告訴我，她在如此艷麗而復雜的色彩關系中，昭示了一種回避，對那些曾經(jīng)決定自己成長道路的物像世界的回避。我甚至一下子就認定，眼前這些充滿回旋筆觸和厚重色塊的平面作品，其實是這個女性藝術(shù)家的一種有趣的性格圖示。作品告訴我，她是如此深入地沉浸在個人的幻想中，以至于把童年以及成長期所熱戀的個別對象轉(zhuǎn)化成了無法理喻的樣式，然后就嵌在眼前的作品里。
按照李華的解釋，“華華丹”是她的QQ名。往前追溯，“華華丹”還是一種非常便宜而且方便攜帶的小孩子的零食。有意思的是，李華對這種零食的描述突然打開了我的記憶閘門，讓我想起小時候的同類東西。我記得有很長時間，被廣州小孩子稱為“鼻屎”的這種零食，曾經(jīng)讓多少生活在物資匱乏的環(huán)境中的兒童和少年們感到了滿足。讓我驚異的是，在李華的童年，這種在南方早已絕跡的零食，居然會成為她多年來夢想的對象。
我想，無論如何，和我的童年相比，李華的童年都不能說物資匱乏，但她依然沉浸在一種消逝的零食的回憶中，并且還發(fā)展成為個人藝術(shù)的風格標志，這只能說明她把逃避作為了真正的主題。這種逃避是對曾經(jīng)壓迫過她甚至還在繼續(xù)壓迫她的物像的逃避。在她看來，之所以選擇這么一種逃避，就是因為物像，不管是偉大的物像還是親切的物像，都令她感到了厭倦。
更嚴重的是，這種對物像的厭倦和逃避具有代表性，暗示了由物像世界的壓迫所導致的微不足道的反抗。從這層意義來看，李華的作品顯然和老一輩的以精英自居的抽象主義劃開了界限，從而把個人的性格圖示擴大為整整一代人的說明，這一代人曾經(jīng)在那么物質(zhì)化的世界中成長，同時又那么尖銳在感受到物像對他們的侵害。
楊小彥
If there is no particular direction, it is hardly to explain abstract art. In other words, without visional context such as training on watching texture, research on combination of points, lines and planes and study on the format and meaning of planes, abstract art and doodle would almost be the same.
But this is not the most important. Doodle has already been awarded for the aesthetic meaning in modernism art. Abstract art marks a trend of fear to image that is the most important to me.
Through the research on the idolatry, it is found that it is natural habits to lean on the image. They point out that nationalities without baptism are around with various images. Once an image links up with a satisfied result, it will be soon honored as an idol and be defined by a series of special explanations. So the idol becomes the important symbol of our society and living environment. Meanwhile, even if they were in such a great environment of idolatry, they would love to look for another idol close to themselves as their objects of special fondness. Then finally they will set up the passage of personal mysterious affection.
Works by Li Hua reminds me the above ones.
First time I saw works by Li Hua, I didn’t think that I was puzzled by the abstract elements. It’s the instinct telling me that she declares to escape from the image on our growing-up way among such a colorful and complicated relationship. It is a picture displaying characters of female artists for me to realize it in a second. Her works shows me that she is so immersed into her own illusion that her loving objects during her childhood and youth are transferred to unreasonable patterns and then it can be found in the front pictures.
According to Li Hua’s words, “Huahuadan” is the nickname of her QQ. Huahuadan can be dated back to my childhood, and it was a kind of snack. It is funny that her description to the snack reminds me the similar thing called “booger” by children in Guangzhou in my childhood, which satisfied the children and youngsters in poor environment. It surprises me that such kind of snack disappeared for long in South China in Li Hua’s childhood becomes her dreaming object years later.
Compared with my childhood, Li Hua’s is better, but she is still in a memory of disappeared snack, which at last turns to her style. Escaping becomes her real theme. She is still escaping from the objects, which pressed her or will press her. In her mind, it is because of the image, so she chooses to escape. No matter it is great or genial, she felt boring.
It is much worse that the boredom of and escape from images are representative, and implies the little resistance to the pressure of images. Works by Li Hua is different from the senior’s. Then pictures of personal characters stand for a whole generation, who are growing up in the materialized world full of commodities and sharply hurt by the images.
Yang Xiaoyan
