傅榆翔
多年前的一個(gè)傍晚,我經(jīng)過(guò)朝天門碼頭，一家餐館門前拴著一只待殺的羊,當(dāng)我經(jīng)過(guò)它的面前的時(shí)候,便發(fā)出格外凄慘,哀絕的叫聲,似乎是叫我救它,當(dāng)時(shí)我動(dòng)了買下它放生的念頭,但現(xiàn)實(shí)是：在這水泥森林的都市里又能將它放去那里?走過(guò)那家餐館一百米外仍能聽見聲聲哀鳴,那是震顫我心靈很猛的偶遇。至今仍索繞于心不能忘懷。
時(shí)常有白日夢(mèng)的幻覺，看到動(dòng)物是人，人又成了動(dòng)物，天空變成土地，水又成了蘑菇云,一切物象與時(shí)空終究成了夢(mèng)幻泡影。弗洛伊德說(shuō)：“夢(mèng)，不僅僅是對(duì)現(xiàn)實(shí)生命的折射，同時(shí)也是對(duì)未來(lái)生活的精準(zhǔn)預(yù)言。”近來(lái)英國(guó)科學(xué)家協(xié)會(huì)聯(lián)名上書英國(guó)議會(huì)，提請(qǐng)為二0五0年人類與機(jī)器人通婚立法。DNA生命破譯，老鼠，猴子等動(dòng)物的基因與人類相差不過(guò)百分之零點(diǎn)幾，我們可以克隆一只羊，一頭豬，在實(shí)驗(yàn)室解剖、化驗(yàn)所有的有機(jī)生命，但我們卻不能創(chuàng)造生命，或許人類能從遙遠(yuǎn)而偶然的一縷毛發(fā)中再生絕滅的恐龍，其實(shí)恐龍并沒(méi)有滅絕，物競(jìng)天擇早已將它進(jìn)化成為帶翅膀的鳥，并一直伴隨生活在我們身旁。
其實(shí)，生命總是在失根中飄移，全球性移動(dòng)和人類與動(dòng)物的游居已是現(xiàn)實(shí)的必然。雖然我們永遠(yuǎn)不能把觀念和設(shè)想預(yù)植于藝術(shù)創(chuàng)作中，但不由自主地在創(chuàng)作中激活了諸多那些沉淀和過(guò)濾的感慨，《天空沒(méi)有回音》，《游山玩水》，《回聲》等系列創(chuàng)作以馬、鴨子、羊、豬、船、潛水者、宇航服、云、水、霧、不確定的土地等視覺元素來(lái)塑造、呈現(xiàn),在畫面的架構(gòu)中更多傾向黑白寫實(shí)性語(yǔ)言方式的再展開。在營(yíng)造相對(duì)真實(shí)的感覺中,有些瑣碎局部細(xì)節(jié)的刻畫是想讓觀者有所觸動(dòng),甚至驚悚,在視覺上造成突兀,詫異的張力,以此引起內(nèi)心的顫栗,平和或緊張的情緒。
天空是所有生命的布景，大地是所有生命回歸的終點(diǎn)。因此在這系列作品中一方面呈現(xiàn)出象征與隱喻性，另一方面也試圖消解油畫與水墨的油水不相溶。當(dāng)完成這組超現(xiàn)實(shí)的系列作品時(shí)，其實(shí)人與作品亦被現(xiàn)代敘事精神所激活。藝術(shù)家精神在場(chǎng)的根本處境，絕不是簡(jiǎn)單地復(fù)制世界的外在面貌，而是有效地參與到精神世界的建構(gòu)之中，并發(fā)現(xiàn)它的內(nèi)在秘密。
正是這一刻,我驟然看到,在已經(jīng)被發(fā)現(xiàn)的秘密之中,人類精神面孔上焦慮的皺紋正在瘋狂蔓延。
2008.2.28
重慶501工作室
Reactivating the Spirit of Universe
by Fu Yuxiang
It was an evening years ago when I passed through the Chao Tian Men dock that I came across a sheep tied before a restaurant, waiting to be killed. When I passed by, it uttered an extraordinarily mournful and desperate cry, as if begging for my rescue. By an instant I got the idea of buying and freeing it, but this is the fact: where is its shelter in the concreted metropolis? Even a hundred meters away from the restaurant, its grievous whine could be heard. It was an encounter pricking my heart deeply and still lingering in my innermost.
I usually have illusions like something of a daydream, in which animal takes up the form of human while human of animal, sky turning into earth while water into mushroom cloud, all vaporizing like bubbles in the end. Freud ever said, “Dream is not only a reflection of the real life but also an exact prediction of the future.” Recently the British Scientists Association appealed to the parliament for legislation of marriage between human and robots. By the interpretation of DNA, we found that the gene of mouse, monkey, etc. differs little from that of human being. We have been capable of cloning sheep and pig, anatomizing and experimenting on all organic life in the lab, but we still can not create it. Perhaps we can rebirth the extinct dinosaur from a thread of ancient fur found incidentally，but in fact, the dinosaur hasn’t been extinct yet, for it has evolved into a winged bird by the natural selection, accompanying us all the time.
Actually, life is always floating rootlessly. Worldwide emigration and migration of human and animal has become a real necessity. Though we can not implant our concept and assumption into artistic creation, we do have activated those deposited and filtrated sentiments unconsciously. My series of paintings such as Silence in the Sky, Travel, Echo, and so on, mold and present themselves by some visual elements like the horse, duck, sheep, pig, ship, diver, spacesuit, cloud, water, fog, indefinite land, etc. and these paintings mostly adopt the plain color of black and white. By making up a relatively real feeling, they intend to move or even shock the spectators by some trivial details. Besides，they try to arouse a heart quake or a wild or nervous mood through a sharp and shocking visual tension.
The sky provides a scene for all lives while the earth for their end. Therefore, these works, on one hand, present themselves symbolically and metaphorically, and on the other hand, effort to compromise the indissovableness of oil painting and wash painting. When these series of super-realistic works were completed, I was also activated by the modern narrative spirit. The essence of the presence of artist’s spirit is, by no means, a simple replication of the world’s appearance, but an active participation into the construct of the world’s spirit and an exploration of its interior mystery.
It was at this moment, in the known secrets, that I suddenly noticed the anxious wrinkles spreading crazily on the face of human spirit.
Feb.28th, 2008
501 workhouse, Chongqing
