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折磨邓箭今艺术生涯的,我想不仅仅是出于一种对绘画的理解,更是出于一种无法回避的本能。在他十几年的绘画实践当中,他经历了几次较大的变化。从以自我为中心形象到把自己包裹其间的群体偶像,从城市无聊而乏味的组合到悬浮状态的极端表现,都体现了邓箭今本人的困惑和对生存的个人透视。他固执地通过一系列的画幅不断地表达其内在的深刻感受,那就是对生活的感性体验:一种既无奈又感激的矛盾心理。无奈是因为生命本身的有限与局限,使生命的张扬常常受到了无缘无放的压抑。结果是,邓箭今始终不渝
To torture Deng Jijin’s artistic career, I think it is not only out of an understanding of painting, but also out of an instinct that can not be avoided. In his more than ten years of painting practice, he experienced several major changes. From the image of self-centeredness to the group idols that enclose themselves in the meantime, from the boring and tedious combination of the city to the extreme manifestation of the state of suspension, Deng Jianjin’s own confusion and personal perspective on existence are reflected. He stubbornly continued through a series of frames to express his deep feelings, which is the perceptual experience of life: a helpless and thankful ambivalence. Helplessness is because of the limitations of life itself and the limitations of the publicity of life is often suppressed by the unforgiving. The result is Deng Jianjin has always been