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陈苏平的绘画疏散、朴率,写生味道很浓,涂鸦一样的笔线、色墨中分明外示着一种新的笔墨秩序。对于陈苏平来说,笔墨材料无非是一种载体。通过它们,陈述的可能是一种情绪,一种表现性的语言,一种视觉形式的观照。看陈苏平的画,古典而优雅的水墨语言系统被拆解甚至疏离了,转而以“他方”或者较为“边缘”的图画元素重新组构画面,找寻更适合于自己的独特形式,并渐渐锤造一种个我图样。可以说,他的绘画形貌是临近于西方现代绘画的某些品质的,塞尚、贾克梅蒂、夏加尔、基弗以及与一些画家的创作草图的语素,似乎都不无关联和融渗。
Chen Suping’s paintings were evacuated, and his rate of simplicity and sketching were very strong. His pen-like lines were graffiti, and a new order of brushwork was clearly shown in the color ink. For Chen Su-ping, the pen and ink is nothing more than a carrier. Through them, the statement may be a mood, a presentation language, a visual form of the view. To see Chen Suping’s paintings, the classical and elegant ink language system has been disassembled or even alienated. Instead, he reorganized the pictures with the drawing elements of “other side” or “edge” to find more unique forms that are more suitable to them , And gradually hammer one by one my pattern. It can be said that his paintings are of some qualities that are close to those of western modern paintings. It seems that there is no connection or infiltration between Cezanne, Giacometti, Chagall, Kieffer and the sketches of some painters’ sketches.