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在冷杉的众多水印木刻作品中,给我留下印象最深的是《流逝的痕迹》,画面十分简单,喻意也十分单纯。一个摩登女郎走过画面的前景,背景是一排古代的石刻。女郎的连衣裙与深色的石刻叠印在一起,使得画面最醒目的图式是五个直立的黑色长方形,有一种极少主义的形式感。但是,结合冷杉的其他作品看,他更注重的是水印木刻的语言特征和作品所选择的题材。 冷杉生活在江海之滨的启东市,这儿没有都市的喧嚣,与自然更为贴近,冷杉说他喜欢从周围的环境中寻找版画语言与精神世界的对应点,在人类社会日异疏远自然的时代,他的这个出发点对他的版画语言更加显得重要。水印木刻意境清新,语言朴实疏淡,似乎是专门为传统家园和小镇风情准备的样式,冷杉也正是抓住了这种语言特性,展开对现代文化的思考。当然这也经历了一个过程。这个过程可能是重叠的,甚至是无意识的。一部分作品是在现代艺术的影响下,以形式探索为主,直接把现代艺术形态引入水
Among the many watermark woodcut works of Firs, the one that impresses me most is the “traces of passage”. The picture is very simple and the metaphor is also very simple. A modern girl walked through the picture of the foreground, the background is a row of ancient stone. Girls dress and dark stone overprint together, making the most striking picture of the picture is five straight black rectangle, there is a minimalist sense of form. However, combined with other works of Fir, he focuses more on the linguistic features of the watermark woodcut and on the subjects he chooses. Firs lives in Qidong, a city on the coast of the sea. There is no metropolitan noise and is more closely linked with nature. Firs said he likes to look for the correspondence between print language and spiritual world from the surrounding environment. His starting point is even more important to his print language. Watermark woodcut mood fresh and simple language, seems to be specifically for the traditional style of homeland and town preparation style, it is also the fir to seize this language features, start thinking about modern culture. Of course, this also went through a process. This process may be overlapping or even unconscious. Under the influence of modern art, part of the works are mainly based on the exploration of forms, and direct the introduction of modern art into the water