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作为“书法主义”发起人之一的邢士珍先生,他的创作就反映了开拓语言境界的一种努力。 邢士珍的创作带有一种很强的实验性,在一定程度上,可以说这种实验性是现代书法艺术的本质属性之一,它不光是指精神上的实验,而且还是创作技巧上的实验。相比起传统书法那流传了千百年的用笔、结构的稳定性,邢士珍有别于既往的创作可以理解为通过艺术语言进行生生不息的精神实验。邢认为“书法主义”的作品创作是没有模式可套的,不可模拟他人,也难以复制自己。邢士珍的创作不在于我们给他冠以前卫的头衔,而更多的是有别他人的精神状态。他精神上的积蓄和孕育显得格外活跃、格外无常、格外的难以羁束,存在状态明显地带有一种一次性的抒发,带有偶然性的敏感。这样带来的创作过程只能是一次性的,有时未及成功,有时却获得很大的成功。这使我们联想起美学耗散态的涨落
Mr. Xing Shizhen, one of the initiators of “calligraphy”, reflects his efforts in opening up the language realm. Xing Shizhen’s writing has a very strong experimental nature. To some extent, it can be said that this kind of experiment is one of the essential attributes of modern calligraphy. It refers not only to mental experiments but also to experiments in creative skills. Compared with traditional calligraphy that spread thousands of years of pen, the stability of the structure, Xing Shizhen different from the previous creation can be understood through the art language of endless spiritual experiment. Xing believes that the creation of “calligraphicism” works is not modeled, it can not imitate others, and it is hard to duplicate itself. Xing Shizhen’s creation is not based on the title we give him avant-garde, but more on the other’s mental state. His spiritual savings and ingenuity are exceptionally active, exceptionally unmanageable, and the state of existence clearly carries a one-time expression and sensitivity by chance. The resulting creative process can only be one-time, sometimes unsuccessful, sometimes with great success. This reminds us of the fluctuation of aesthetic dissipation