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李燕蓉几乎是爆发性地在陶质材料中找到了自己的雕塑依归,使她得以从容地走进了雕塑与陶艺的中间地带.雕塑语言和手段的训练,不仅为她的雕塑方向提示了新的途径.也是时雕塑和陶艺发展的一种启示.对材料特性的挖掘、对直接塑造的敏锐处理、对形象塑造的感情投入,使她的陶材雕塑获得了一种特有的品格,既保留并丰富了雕塑的语言,同时为陶艺注入了一种新鲜的经验.她在一年中完成的近20件陶材雕塑作品,采用陶土材料直接进行塑造和烧制.这种直接性使作品既排除了她以往利用石膏、铸铜和铸漆等材料手段翻制作品时可能忽略或遗失感性化的材料特性,同时又可以充分保留塑造过程中对于陶材物性的细微理解和情感处理.从传统陶艺制作中借用过来的“贴塑”和“印贴”等技术手段,使她得以顺应感性体验的引导而在直接的雕塑中把握任何必要的细节,并获取人物各个部位之间的空间关系.利用陶土的可
Li Yanrong found his own sculptures almost exclusively in pottery materials, allowing her to walk comfortably into the middle of sculptures and ceramics. The training of sculptural language and instruments not only provided new directions for her sculpture Way.It is also a revelation of the development of sculpture and pottery.The digging of the material characteristics, the acute treatment of the direct shaping and the affection of the image shaping make her ceramic sculpture obtain a peculiar character, Enriched the language of the sculpture and at the same time introduced a fresh experience to the art of pottery.The nearly 20 pieces of pottery sculpture she finished in a year were directly molded and fired with clay material.The directness made the work both ruled In the past, she used the plaster, bronze casting and casting materials to turn over the works, which may ignore or lose the sensibility of the material properties, while fully preserving the shaping process of subtle understanding of the physical properties of ceramics and emotional processing.From the traditional pottery In the process of borrowing from the “plastic” and “printing” and other technical means that allows her to follow the guidance of sensory experience in the direct sculpture to grasp any necessary fine Festival, and access to the space between the various parts of the character relationship