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最初感动李燕蓉并赋予她以激情的,是陶土材质中隐藏着的亲切的物性诱惑,是陶材的可直接塑造性中为她的雕塑创作方向透露出的可能希望;而李燕蓉给予他人以激动和关注的,则是她个人对特殊材料物性的敏感和传达,以及她对蕴藏于物性中的精神灵性的解悟。她作品中的安逸、秀美之态和轻松、亲切之感,使人无需猜想过分深刻的观念或任何大胆的艺术企图,感受于泥土中生成的形象或许就是走近和接受作品的理由。她在近年中完成的近20件陶材雕塑作品,证明了她为寻求个人方向而做出的努力。 利用自然的陶土进行直接的塑造和烧制,使她在很大程度上充分感受并保留了创作过程中对于陶材物性的热爱和情感把握,同时又排除了她以往利用石膏、铸铜或铸漆翻制作品时可能忽略或遗失了的感性化的材料特性。借用于制陶工艺的“贴塑”和“印贴”等技术手法,使她得以在实际的塑造过程中自如地直接幻化出心中的意象,从容地处理形象的各部位之间的空间关系,遵从感性
Initially touched by Li Yanrong and gave her a passion is the intimate materialistic temptation hidden in the clay material and the possible hope revealed for her sculpture in the direct moldability of pottery materials. Concerned is her individual sensitivity and communication of the physical properties of special materials, as well as her understanding of the spiritual spirituality contained in the physical properties. Her work’s ease, beauty and lightness, intimacy, make her feel like the image generated in the soil, perhaps without excuse of overly profound ideas or any bold artistic attempt, as a reason to approach and accept works. Nearly 20 pieces of pottery sculptures she has completed in recent years have proved her efforts to pursue her personal direction. The use of natural clay directly for shaping and firing, so that she largely feel and retain the creative process of the physical properties of pottery love and emotion, and ruled out her past, the use of gypsum, bronze or cast Paints that may be overlooked or lost during the lacquer work are characterized by sensory properties. Borrowing from the techniques of “sticking plastic” and “printing and pasteting” of pottery making process, she can freely transform the image of the heart freely in the process of actual molding, calmly deal with the spatial relationship among the various parts of the image, Follow sensibility