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我所面对的“第四届广东画院学术提名展”作品,是“记忆写实主义”的南方样本,它以架上绘画为介质,构筑了当代中国人的镜像谱系。这是两个轴心的一次交叉运动,对象(被画者)之轴和主体(画者)之轴彼此缠绕,以岭南美学的独特方式,重构了原型和镜像的亲昵关系。这重构包含了事物的三重反射:A.人物原型反射了中国现实;B.画家的瞳仁,折射了来自原型的光亮;C.绘画成为映射画家主体的镜像。最终,当画家主体变得有限透明化之后,就能营造具有普适意义的“写实主义”风格。
What I was facing was the southern sample of the Fourth Guangdong Art Academy Academic Nomination Exhibition, which is the southern sample of “Memory Realism”. It builds the mirror image of contemporary Chinese with medium of painting on the shelf. This is a cross-cutting movement of two axes. The axis of the subject (the person being painted) and the axis of the subject (the artist) are intertwined with each other, and the intimate relationship between the prototype and the mirror is reconstructed in a unique way of Lingnan aesthetics. This reconstruction involves the triple reflections of things: A. The human prototype reflects the Chinese reality; B. The painter’s pupil refracts the light from the prototype; C. The painting becomes a mirror image of the main body of the painter. Ultimately, when the subject of the artist becomes limited transparency, a “realistic” style of universal significance can be created.