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我和父亲走在稻田边的小路上,我怕蛇,父亲说没事,蛇都抬起了无精打栗的头,可它不咬人,父亲脖子上挂一串佛珠,他被蛇咬了。(《一串佛珠》,1986)陈海燕用木刻版画记录梦境,引发了现实中的问题若干种。她的创作是一系列的否定式。从80年学生时代开始,陈海燕抄写自己的梦境。这与她将梦境落实到木版画面上,两者有时竟相距多年。也许,中间的距离标识着她清醒的时刻;意即,生活的时刻。话说回来,梦又是她经年的创作,从1986年—直到今天。在外人看来,这绵延30年的梦并没有中断。因此我们可以把这累月的梦都当成是同一个梦的集合,视艺术家
My father and I walked on the trail along the paddy fields. I was afraid of a snake. My father said nothing. The snake lifted the listless head, but it did not bite, and a string of prayer beads hung on his neck. He was bitten by a snake . (“A String of Beads”, 1986) Chen Haiyan recorded the dream by using woodcut prints, triggering several problems in reality. Her creation is a series of negatives. From 80 years of student life, Chen Haiyan copied his dreams. This dream with her implementation of the woodcut screen, both sometimes actually years apart. Perhaps the middle distance marks her awake moment; that is, the moment of life. Anyway, dreams are her years of creations, from 1986 - until today. For outsiders, this 30-year-long dream has not stopped. Therefore, we can think of all the dreams of this month as a collection of the same dream, depending on the artist