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“他”在镜头前倾力摆完pose,其中难免有个人化的悲伤或失落作为底色,但在笔耕不辍的劳动后所获得的充实感受,却可以让“他”在每日吹灭蜡烛后安心地洗脚睡觉,或许“他”还会在后半夜做个关于脱贫致富的实在美梦吧在名为《没有河流的航标》和《自画像》的双个展中,两位并非科班出身的艺术家,用绘画的方式表述着各自不同的关注对象。亓文章的“自画像”在不同的装扮间变换着身份的假说,这些形象几乎都是被放在近似的、单调背景的最中心位置的;肖江的绘画则将很多容易被忽略的、城市生活中的片段景观或物象局部提取出来,以粗糙的笔调将它们分别简化成每幅作品中的主角。技术上的“稚拙”经常会在表象之上进一步显现出绘画
“Him ” in front of the camera pose, which inevitably has a personal sadness or loss as a background, but after the pensions of the labor acquired the full experience, but can let “he ” in Every day after the candle is extinguished, it is safe to wash your feet to sleep. Perhaps he will be able to make a real dream of getting rid of poverty and getting rich in the middle of the night. At the two solo exhibitions titled “Beacons without Rivers” and “Self-portraits” The two artists who were not from the same class used painting to express their different concerns. The essay’s “self-portrait” transforms the hypothesis of identity among different costumes, almost all of which are placed in the center of a similar, monotonous background; Xiao Jiang’s paintings tend to be easily overlooked, Fragments of city life landscapes or objects partially extracted, with rough tone will be simplified into the protagonist of each piece, respectively. Technically “naive ” often shows the painting further on the surface