论文部分内容阅读
《占梦S——嫁妆》系列所揭示的现成品与绘画的关系,不仅是图像时代下,架上何为的新探索,更是回答杜尚晚年关于绘画如何回到现成品艺术的疑问的终极思考。《占梦S——嫁妆》画面中一部分保持现成品的原始状态不去触碰,另一部分用冰冷坚实的自制金属颜料以绘画性的笔触与语言,复述、转译丝绸面料原本的吉祥图案。在摹本与范本两者对立并置的状态间所产生的吊诡中,展现出了作者对于自然与自由这对哲学命题的深入思考。“有所为”的绘画那部分对于“无为”的现成品部分,可谓
The relationship between the ready-made products and the paintings revealed in the series “Dreams S - Dowry” is not only a new exploration of what is to be done under the image age, but also a reply to Duchamp’s later questions about how to return to the art of finished products Ultimate thinking. Part of the “Dream S - dowry” screen is to keep the original state of the finished product untouched. The other part uses the cold, solid, self-made metallic paint with the brushwork and language to repeat and translate the original auspicious patterns of silk fabrics. In the paradox created by the confrontation between the model and the model, the author shows his in-depth thinking on the philosophical proposition of nature and freedom. “Something is ” part of the painting for “Inaction ” part of the ready-made, it can be described as