吳笛笛的作品在挖掘傳統(tǒng)繪畫(huà)藝術(shù)方面有著自己獨(dú)特的體悟和感受。對(duì)新疆克孜爾洞窟早期佛教壁畫(huà)的深入與細(xì)膩的研究和考察，以及大量臨摹，使她對(duì)藝術(shù)的理解和表達(dá)超越了時(shí)空限制與文化的隔閡，從而連接了遠(yuǎn)古的視覺(jué)文化與今天的造型世界。她曾經(jīng)根據(jù)傳統(tǒng)壁畫(huà)的造型與圖式語(yǔ)言完成了一批古意盎然的作品，例如《粉紅》，《他在哪兒》，《訂婚》等。這個(gè)展覽上展出的是她的近作《十二生肖系列》。這套作品是她對(duì)包括剪紙，青花瓷繪，木刻，皮影等傳統(tǒng)民間藝術(shù)與古代壁畫(huà)藝術(shù)的系統(tǒng)整合，并在圖式和語(yǔ)言上進(jìn)行現(xiàn)代性的提煉。在作者看來(lái)，西方現(xiàn)代藝術(shù)史上的許多大師都從土著和鄉(xiāng)土藝術(shù)中獲取過(guò)營(yíng)養(yǎng)，她因此試圖運(yùn)用現(xiàn)代藝術(shù)語(yǔ)言來(lái)表現(xiàn)屬相動(dòng)物所代表的人性。作品不僅表達(dá)了藝術(shù)家對(duì)農(nóng)業(yè)時(shí)代的寧?kù)o田園世界的想象，而且體現(xiàn)了她傳統(tǒng)視覺(jué)文化的深入研究和體悟，而輕松的風(fēng)格，質(zhì)樸的藝術(shù)語(yǔ)言，以及稚拙的造型也讓觀眾暫時(shí)超越了世俗生活的煩惱，而進(jìn)入一個(gè)個(gè)富有親和力的動(dòng)物“境界”。在可愛(ài)的動(dòng)物身上尋找人性，也許是表達(dá)了藝術(shù)家對(duì)當(dāng)今世俗間獸性泛濫的憂慮。
張朝暉
2005年2月
Wu Didi is unigue in her understanding of traditional art. Her indepth and detailed study and copying of the Kazakh Caves of the Thousand Buddhas in Xinjiang helps to formulate an artistic understanding that goes beyond spatial ,temporal and cultural boundaries. In her paintings,the visual cultures of the antiquity and the present are allowed to meet. She based a series of work ,including“Pink”,“He is there”and“Engagement”,on graphic forms of mural paintings. The exhibition includes her recent work. “12 Chinese Zodiac Signs”. By systematically combining ancient mural art with various types folk art, such as paper cutting ,blue-and-white porcelain painting, woodcut and shadow puppet,she also attempts to modernise their graphic forms. She believes that many masters in the West found their inspiration from folk arts. Therefore in her works ,modern artistic language is employed to show human nature in zodiac signs. Not only as the imagining of an idyllic world, these paintings also demonstrate her understanding of the traditional visual culture. The easygoing style, the rustic language,and the naïve graphic forms, all help to transport the viewer to a realm devoid of everyday troubles –yet rich in animal affinity. Perhaps to search for human nature in cute animals can be seen as a response to the degradation of modern human nature.
【編輯：賈嫻靜】
