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在当代水墨的创作实践中,墨作为一种材料的物质性愈发得以被感知、意识及表达出来。郑重宾早在1986年便开始将白色的丙烯混入水墨中进行创作,虽然同为依托于水的媒材,墨及丙烯因完全不同的质量、容积而制造出非常不同的体量感。郑重宾之后的装置学习背景,令他得以立足于非二维的平面中考虑水墨绘画所可能具有的当下性。二层展厅中出现的纸上作品,可以逐层看出他的尝试及思考过程,《地
In the practice of contemporary ink painting, the material nature of ink as a material is increasingly perceived, conscious and expressed. As early as 1986, Zheng Chongbin started to mix white acrylic with ink. Although ink and acrylic rely on water, ink and acrylic have very different mass perceptions due to their completely different mass and volume. After Zheng Chongbin’s device learning background, he was able to consider the current nature of ink-and-wash painting based on non-two-dimensional planes. The works on paper in the second floor exhibition hall can see his attempts and thinking process layer by layer.