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工笔画对涂少辉而言,与其说是审美形式的媒介,不如说是视觉意图的载体。于是,他的作品,游离了我们概念中的工笔画,呈现某种异样的图像经验。也即,我们很难用工笔画一贯的审美方式来评价他,只能转换视角去面对。那么,这样的视角该如何获得呢?毫无疑问,它并不来源于传统。正如,他画面中独树的枝叶、沉暗的倒影甚至笨拙的机械鸟,与自然主义的情绪经验、视觉显现,甚至精研描摹的刻画方式,没有任何联系。相反,这些图样的组合,带有强烈主观拼合的意味,是一种设计出来的意图,
For Shao-Hui Hui, mechanical strokes are not so much an aesthetic form of media as a carrier of visual intention. As a result, his work, free from the painterly sketch of our concept, exhibits some kind of strange imagery. That is, it is difficult for us to evaluate him with the consistent aesthetic way of working stroke, and we can only face the change of perspective. So, how to get such a perspective? There is no doubt that it does not come from tradition. Just as the solitary branches and leaves in his picture, the dusky and even clumsy mechanical birds have no connection with the emotional experience of naturalism, the visual appearance, and even the delineation of painting. On the contrary, the combination of these patterns, with a strong subjective combination of meaning, is a design intent,