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展览导言|郑志明:如相 Exhibition Preface | Zheng Zhiming : Ruxiang (Phases)

已更新:4月 20

(中/EN)


所谓之“相”,分为有形和无形。郑志明这回带来的108幅与脸相关的作品,深探何谓“相”的真实义。从哪里得知,又从哪里观起。普遍可能以为阿明这次作品还是关乎于重生这件事,但在深触阿明的潮涨潮落后,便会明白,那是回家。他道出的是回家的故事,回家的路。


被誉为有灵魂的艺术家阿明,早年凭着深厚的艺术功底,从硕果累累的具象水彩作品,直至近期喷薄而出的一系列荡魂摄魄作品,阿明一直生活在他的作品里。自2017年阿明以崭新的姿态重现后,许多人曾表示一直无法从阿明的作品中走出来。从阿明的作品中可以真切感受到,他不断走进绘画中内在极端的心理状态,让自我、世道、艺术,回荡于阿明的每一个人生阶段。


关于阿明本次的”如相”系列作品,已不能再用”画“这样的一个字眼,那是一种侧重于探索意识未形成的艺术层次,内心的独白与自我的回归。这些意识反映出来的,越过重重迷雾,跨过悲欢离合,最终流淌到波澜不惊、风静浪平的天地。那是种莫大的平静,是撕裂后,重组后的一番悠然神往。无论“妙有”还是“如相“,阿明早已卸下以往以具象为主的水彩画风,不再拘泥于色彩、形式、技巧。人们肉眼所看到阿明作品中的色与相,所主观以为的恢恑憰怪,哀戚基调。对阿明而言,这些早已是无色无相。心神休止就会虚空,心神虚空就合于真实的道。观看阿明之作,唯有放掉执念,才能在有形和无形的这种错综交融的艺术语境中,窥见最真实的阿明。


诗人顾城曾说,“黑夜给了我黑色眼睛,我却用它寻找光明。”简单一句,道尽郑志明。他所历经的一切,突破的境界,已经无法用一般形式来描绘。更多的是用意识流去引导观者,让观者的感官全面开放。因此,在本次“如相“展览中,阿明希望观者用灵魂去感受,甚至反思。不执着于实相非相,就好比阿明已不再执着于这些形式上的色彩,那是一种空空如也的和谐。如来如如相,阿明的作品体现了万物之性与道的辩证统一,仿佛那些灵魂带着数世累劫,完整的透染了阿明的作品。那时翩时墬的灵魂感染,将会是另一场无尽无穷的艺术体验。


--(EN)


The so-called “Xiang (Phase)" can be divided into tangible and intangible. This time, Zheng Zhiming is bringing 108 works which relate to the human face to seek and explore the true definition of “xiang”. From our understanding of the world, one look at Zhiming’s artworks one might perceive them to relate to rebirth, but after learning ebb and flow of him, you would understand that this artwork is about homecoming.


Known as an artist exploiting the soul, Zhiming has shifted from fruitful figurative watercolor works in early years to the burst sorrowful works in recent series. Zhiming has always lived within his work. Since his re-appearance in 2017 with this shift, many people have said that they have get lost inside Zhiming 's work. They feel that he is constantly pushing the boundaries of the psychological state of his paintings – letting himself, the world, and art reverberate in every stage of his life.


Zhiming’s ‘Ruxiang (Phases)’ series of works that are more than just painting. It is an art that focuses on exploring the unformed consciousness, the inner monologue and the return of one’s self. These paintings take people on a journey, through heavy fog, across joy and sorrow, and finally to a calm and peaceful world. Such great calm derives from tearing apart and reforming. Regardless of “Miaoyou (Subtle)" or "Ruxiang (Phases)", Zhiming has already abandoned the previous style of watercolor figurative features, and is no longer confined by color, form, and technique. The color and phase are subjective and sorrowful, creating a sad and mournful tone. The artist sees beyond colors. He sees nothingness and the truth of the world. Only by letting go of the obsession, can you see the most authentic Zhiming in the intricate artistic context of tangible and intangible.


The poet Gu Cheng once said, ‘the night gave me dark eyes, but I used it to seek for light ’. This poem says everything about Zheng Zhiming. What he had gone through, what he had broken through, could no longer be depicted in ordinary terms. A stream of consciousness guides people to open all their senses to feel and reflect with all their heart, not clinging to reality and non-reality. It is like Zhiming is no longer clinging to colors, but the harmony within. The Tathagata is as it is. Zhiming’s works embody the dialects between unity of the nature and the principle of all things, as if those souls in his works have suffered several reincarnations and profound sorrow. This will be an ever-lasting art experience for all.


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