刘海宏画册序和访谈(中英文)

刘海宏画册序和访谈(中英文)

刘海宏画册序和访谈(中英文)

时间:2012-11-06 16:31:55 来源:

>刘海宏画册序和访谈(中英文)

封面:
Cover:
刘海宏
    ——用生命寻美的人
Looking For Beauty In Life 

用生命寻美的人   刘海宏
The Beauty In Sincerity
 Low Hai Hong


Forword
  
        绘画是即时的情景捕捉,那些转瞬即逝的一刻,感受时间的律动与节奏,被内在情感从不间断的持续变化,被消逝的紧迫感驱使着,真切的抓住那一刹那的灼热与激情。在刘海宏的作品中总能感受到这样的创作激情。专攻西洋画,喜爱印象派的他并不刻意模仿印象派,也未曾临摹过。他崇尚的是走出画室,到户外去写生,去感受大自然中光与色的变化,以迅速的手法把握瞬间的印象,使画面出现不寻常的富有冲击力的色彩效果;使自然之美成为永恒。他的作品更贴近生活,也是他与观众沟通的桥梁。运用手中的画笔把世间一切美好的东西展示给他们,让他们一起分享生活的淳朴和快乐,这与他的天性不无关系。传统、真挚和严谨的做派,穷尽一生去寻找能与你共鸣,发人深省,久久不能平息,耐人寻味的意境。
        A painting is a capture of fleeting imageries, coalesce of transient emotions and probing of the mind, an intertwine of motion and momentum, a depiction of without from within.  This is how Low Hai Hong’s art pieces will strike you.  His style, while steeped in Impressionism is by no means a mimic or mere incarnation of it.  He sees the art studio as a temple of creation but the outside world as the true origin of inspiration.  As such, the foundation of his art pieces is often crafted out of quick sketches done in the streets, amongst people, to allow an intimate savoring of the moods and beats of his subjects.  This usually throws out lively, energetic portrayals; each moment, each now, cast in eternity.  His topics of everyday people and places also serve as a personal tugging of his audience’s heart, a sharing of life’s many faces and joys.  This mirrors his earnest approach in communicating with others in real life settings – back to the basics, back to giving the human touch.              

        当年还在读华文小学的刘海宏,因为新加坡华文学校频繁发生学潮,年幼的他被家人转送英文学校,接受西方教育。于是他只好自修华文,这也是他一生中最大的遗憾,却也因此使得他在西洋画上有所造诣。在艺术寻根的路上,他从不受形式的约束,绘画基本功扎实的他,在看过张大千晚年作品展后受到启发:纯粹水墨加上色彩创造了新的水墨画,那么把油画色彩以国画技巧画在宣纸上会是怎么样呢?历经多年,他终于创作出既有油画的色彩和立体感,又有水墨画的含蓄和韵味在内的纸本油画作品。
        Hai Hong did his early education in a Chinese school in Singapore.  As student uprisings were common in Chinese schools back then and extremely disruptive to studies, his family had him transferred at a young age to a mission school.  He ended up receiving a Western education instead.  While it paved the way for a valuable immersion into Western teachings and subsequent exposure to Western Impressionism, it was a difficult divorce from his Chinese roots.  Determined not to be a cultural orphan, he undertook a personal commitment to study the Chinese language and culture on his own.  That led to his fateful encounter with the later works of Chinese artist Zhang Daqian, which proved to be the first major turning point of his art odyssey.  Already fluent in oil painting by then, the essence of Zhang’s pieces inspired Hai Hong to experiment infusing the techniques of Chinese Ink Painting into his oil repertoire.  The outcome?  The daring colors and multi-dimensional interpretation of oil simmers with the subtlety and grace of ancient ink to create a stunning, layered visual on canvas.            
        五十年创作生涯浓缩着刘海宏持之以恒的艺术追求与精神革新,他对新艺术视角的不断探索透过画作的效果表达出来。无论创作主题、风格或流派,他都不知疲倦地探索着新的主旨概念、表达效果与方式手段。尤其是他不可思议、充满想象力的光影与色彩的掌握,传达给观众独具一格的视觉体验,并作为一种鲜明的个人风格将其轻易地与其他同辈当代艺术家相区别,自成一家。
        Fifty years of creative endeavors, a lifetime of juxtaposing timeless paint strokes and new ideas of art, Hai Hong’s constant effort to change and evolve echoes his relentless pursuit of perfection.  His ability to conjure a new perspective or effect, and his mastery of lighting, colors give rise to a distinct style of painting that easily separates him from his art contemporaries.     
        刘海宏的作品就如同他说的话:“我是一个画家,我所做的就是用一颗真诚的心,把我所看到的,感受到的,世上一切真、善、美的东西,好好的表现出来。”
        His art and his life in his very own words: “I take in the beauty of this world through what I see, what I feel and express it with my heart through what I draw.  This is what I do.  I am an artist.”

光影交汇的融合——刘海宏访谈
Through the years - Low Hai Hong

Q:你是怎样开始走上绘画这条艺术之路的?
Q:  What brought you into the world of art?

A:我从小就喜欢画画。记得读小学的时候,在老师还未进教室之前我就用粉笔在黑板上涂抹作画,被老师惩罚每天下课后擦黑板,后来我终于报考了南洋美专。
A: My love for drawing manifested even at a very young age.  I recall my early school days when I would produce drawings (with chalk) on the blackboard while waiting for the teacher to come into class.  Obviously the teachers didn’t appreciate my ‘masterpieces’ as I was the de facto ‘blackboard cleaner’ at the end of every session.  Years later I enrolled in Nanyang Academy of Fine Arts (NAFA) of Singapore.

        在南洋美专我遇到三位恩师,他们的言传身教让我今后的绘画生涯受益匪浅。张荔英老师告诉我:“要成为一名真正的画家,就要从绘画的基本功开始练起,就不要怕苦,更不要怕穷,永不言悔的走进这条路。同时在这条路上别无所求,只求精神的富裕,不求物质。”第二位恩师陈宗瑞老师,他非常勤奋,他要求我“先磨练技巧,后提升启发自己的思想,不怕困难的继续下去。”第三位恩师南洋美专的林友权校长,我曾去过他的画室,看过他的作品,被他的画作震撼,那种视觉和感官上的冲击,至今令我难忘。我有幸得到这三位恩师的教诲,才令我打下扎扎实实的绘画基本功和做人的道理,让我在绘画这条路上永不言弃,走过了五十年艺术生涯。
        It was at NAFA that I met my three mentors in art, whose teachings still resonate strongly with me today.  Mr. Zhang Li Ying taught me: “To be an accomplished artist, you need to build up your repertoire from the basics.  You must be prepared for a path riddled with hard work and little riches.  You must seek not material wealth but nourishments for the soul and mind.”  Mr. Cheng Zhong Rui dispensed: “Master first the techniques; next let fly your imagination to rise to greater heights.”  My third teacher was Mr. Lin You Quan, then Principal of NAFA.  My visits to his art studio were unforgettable.  His mind boggling works left me in awe not just from the visual perspective but also the overall sensory feel.  I remain in deep gratitude for their enriching guidance and motivation.  Fifty years on, my art and philosophy continue to be influenced by them.     
  
Q:您学的是西洋画,而您的作品大多属写实类型,光与影的题材经常出现在您的作品中,请谈谈您的创作思路是什么?
Q:  You studied Western Art and incorporate a heavy touch of realism while placing great emphasis on the composition of light for your works.  Can you share a little about your creative thought process? 

A:我在美专学的是西洋画,我最喜欢的是印象派的画风,最崇拜的是古典主义大师伦勃朗,还有法国印象派大师莫奈,因为印象派的理论和实践大部分有赖以他的推广。他最擅长光与影的实验和表现技法,色彩的运用更是到了炉火纯青的地步。看他的《睡莲系列》,我感觉到,画家的用意并非睡莲,它们只是陪衬,画家真正的兴趣旨在光线及意境,可以说他晚年画的《睡莲系列》,已经达到了超凡入圣的境界。我要传承的就是印象派提倡的,到自然界中去,观察,感受光与色的瞬间变化;捕捉,描绘自然界的霎那景象,使一瞬成为永恒,定格在画布上的画风,这也是我为什么喜欢印象派绘画的原因。
A: I majored in Western Art at NAFA.  The Impressionist style really intrigued me while the two artists I most admire were Classical Master Rembrandt and French Impressionist Master Monet.  As the founder of the Impressionist movement and its strongest advocate, Monet’s ability to depict light in its different forms and sublime usage of colors were unprecedented.  His <<Water Lilies Series>> was really less about the flowers but more of an exhibition of his thoughts on his presentation and manipulation of light and color.  Here’s my approach to art as seen through the lenses of Impressionism: Imagine completely immersing oneself in nature and observe the confluence of one’s feelings, one’s thoughts with the evolving shades and mixes of light and color in the surroundings.  Then capture that free flowing transience of nature with swift, swift brushes of paint so as to transfix that one moment and cast it in eternity on canvass.  Stunning in expression, beauty in simplicity; this is what draws me to the Impressionist style.      

Q:《巴黎风貌》系列被赋予非常高的艺术评价,被誉为您从艺数十年的巅峰之作,您怎么看?
Q: Your work <<Images of Paris>> has been lauded for its artistic merit and commented by some to be your best piece of creation till date.  What are your thoughts on this?

A:2000年8月我应法国巴黎国际艺术城邀请,前往位于艺术城的南艺画室进修,以圆我的巴黎艺术之梦。巴黎是一座充满了艺术氛围,充满幻想的令人魂牵梦绕的城市。不论是香榭丽舍大街,还是凯旋门;不论是卢浮宫,还是红磨坊,都值得我去感受和收藏……。在巴黎的经历确实让我的作品达到了一个新的境界。但一个真正的艺术家对艺术的追求是永无止境的,随着意境的升华超越,每个阶段都有不同的心境,所以不能说《巴黎风貌》是我的巅峰之作。
A: In August 2000, I spent four months as a resident artist at Citi de Ville in Paris under a special arrangement by NAFA Alumni and the National Arts Council (NAC) of Singapore.  Paris is the epitome of fine art, an incredible oasis of culture and style, a magnificent city of imagination and romance.  It was a place I long longed for and the stint didn’t disappoint at all.  Be it the streets of Champs Elysees or the Arc de Triomphe; be it within the walls of the Louvre Museum or the Moulin Rouge, I was charmed and deeply touched by their richness of history.  Immersed in this incredible setting, I did achieve a significant breakthrough in my art both in thought and technique.  <<Images of Paris>> was certainly a statement, an exclamation even of my breakthrough but I will stop short of calling it my ‘best work’.  This is because I always believe the pursuit of perfection is relentless.  There is no ultimate trophy to put my name to, but a continual challenge of my personal realms to keep scaling different peaks, at different times, under different circumstances.   

Q:您在周游世界期间去过很多国家,那么对您在绘画上最大的感触或者收获是什么?
Q: You have travelled to many places across different continents for art.  Is there anything that has left the greatest impression on you?

A:我生活在东南亚一带,也去过欧洲几个国家以及美国,尤其是旅居法国巴黎的日子,给我印象深刻。我的大部分画作取材是在这些国家,它们有一个共同之处:就是都有自己的民族文化,并通过很多媒介展示出来,让世人去了解或欣赏或接受。我是一个画家,我所做的就是用一颗真诚的心,把我所看到的,感受到的,世上一切真、善、美的东西,好好的用画笔表达出来。
A: I have stayed in a few countries in South East Asia and also spent months living in Europe and US.  Most of the contents of my work are drawn from these places.  Each city has its own unique cultural practices and local flavors presented in different mediums, whether in architecture, language or art.  What I do is to capture these accented sights and sounds on canvas and let it be the display of my sincere gratitude and appreciation of the people and the places I have visited.

Q:有人说每个艺术家到最后都在追寻艺术之根,那您是如何理解艺术之根的呢?
Q: Someone once remarked that the exploration by an artist usually ends at where it all begun, at the root and origin of art.  What are your thoughts on this?

A:在这里我想引用美国美术史学家帕诺夫斯基说过的一段话:“艺术作品是在历史的长河中浮现出来的,是在一定的具体的文化环境中产生的。要理解和读懂一件艺术作品,就要重构当时的文化环境和社会生活背景。文化环境和社会生活就像艺术的根,而艺术创作则是水面上摇曳的浮萍。离开了根的支持,浮萍只能随风飘零直至最终的凋残。”
A: This reminds me of the words of the famous American art historian Erwin Panofsky.  The essence of what he said was this: Art surfaces in the long course of history as a by-product of the cultural evolution of society.  To fully appreciate a particular piece of art, one has to understand the historical backdrop at its time of creation.  Society and culture therefore form the roots of origin for art with art pieces as the subsequent fruit of creation.  Detached from its roots, a piece of art is not of any worth.  I fully agree with him on this.

Q:您自创了一套在中国的宣纸上用油彩作画的“纸本油画”,这在众多画家中真的是少之又少,那您是如何会有这一灵感?
Q: You created a series of ‘oil on paper’ works by using Chinese rice paper as a replacement of canvass as the medium for your oil paintings.  This is rarely done by other artists.  What inspired you to do so?

A:我凭借着白天色与影瞬息变化,在感官上留下的强烈印象,再用西洋画的油彩在宣纸上作画,画出了带有国画意境的纸本油画。它的特点是:既有油画的色彩和立体感,又有水墨画的含蓄和韵味在内,整幅画面给人的感觉是:轻松而不浮,明亮而不俗。我希望这是一个新的画种,能够给视觉艺术带来一股新的媒介,这也是我潜心研究多年的最终目的。
A: Drawing inspiration from the sharp reversal created by the flickering between light and shadow, I marry oil colors with rice paper to create oil on paper artworks that embody the contrasting styles of Chinese Ink Painting and Western Oil Painting.  I thereby achieve a unique blend that combines the allure and form of oil colors with the subtlety of ink.  It gives the audience a feeling of freshness without scent, style without being slick.  I hope this introduces a new breed of expression to art, one that that provides a different dimensional experience. 

Q:您直到2005年至2006年才举办个人画展,似乎和其他画家相比显得特别晚,你是怎么想的?
Q: You held your first individual art exhibition only in 2005, 2006.  Compared to other artists this has been an overly long wait.  How is this so?

A:尽管这之前我已有了自己的画室,但我总觉得自己画的还有不足之处,还没有资格开画展。我追求完美,对完成的作品,过一个时期会拿出来看一看,会对当时的作品感到不满意,会作一些修改,也会被我自己否定掉,扔在角落里冬眠。正因为这样,我对自己的每一幅作品的完成要求很严,不敢贸然拿出来展示。
A: Although I had my art studio for a while, there was always a feeling of inadequacy in the sense that I felt lacking somewhere somewhat.  In my quest for perfection I would attempt to improve the same piece of artwork week after week.  If there was any piece that I felt any less for I would banish it to the corners of the studio.  I set exacting standards for myself.  Each and every painting has to be good enough before it can be exhibited before others.

Q:你是如何从当初画东南亚及欧美题材转为画中国题材的?是什么吸引了你?
Q: You started off basing your work on materials drawn from South East Asia, Europe and US before covering China-centric themes recently.  What caused you to make the switch?

A:因为在我内心深藏着中国的元素,对中国的情结始终割舍不下,我只有通过手中的画笔才能将心中的这份情感表达出来。在上海旅居期间,我最喜欢做的一件事,就是逛街。不是逛大商场,看高楼大厦,而是逛小巷。那些看似破旧的民居,却透露出浓浓的普通百姓的生活气息,也成为我创作的题材之一。
        记得有一天晚上,我来到了上海最繁华的南京路步行街。马路不宽但很长,两边有时尚的店铺,熙熙攘攘的人流,可爱的观光小火车,还有几幢欧式的建筑物,五彩缤纷的霓虹灯交替闪烁,耳旁还不时传来萨克斯管吹奏的邓丽君歌曲,朦朦胧胧之中还能找回一点老上海的痕迹,我的心被触动了……当天晚上回到旅馆后就拿起画笔,将步行街上感受到的那种夜上海的生活和商业气息,繁华热闹的街景和霓虹灯交替闪烁的霎那变化,定格在画布上。经过几个晚上的通宵达旦,终于完成了两幅《南京路步行街夜景系列》油画作品。也就是从那个时候起,在我潜意识中渴望的,那种叶落归根的感觉终于找到了。
 A: I have always treasured my cultural roots as a Chinese.  As a country, China is never off my radar as the emotional ties have remained strong over the years and it is only with the paint brush that I can truly express this relationship.  I loved to roam the streets when I was based in Shanghai.  Not so much the glitzy crowded streets of the mega malls and office towers but the old back lanes of run-down shop houses where you could take in the life of the ordinary common folk. 
        I remember this particular night that brought me to the popular Nanjing Road pedestrian street.  The central stretch of road was narrow and lined by rows of shops on either sides.  The pavements were teeming with people and sounds of the passing tourist mini-train rang loud in the air.  Colonial style architecture stood imposingly, bright rays of traffic lights bounced off them onto the smiling faces amongst the hordes of pedestrians below.  Occasionally you could hear the oldies of Deng Li Jun played by saxophone, evoking images of the old Shanghai bund from its modern counterpart.  I was touched.  On returning to my hotel, I quickly sketched out images composed of the sights, feelings and sounds of what I just witnessed on the streets.  It took a few nights but I eventually completed two pieces of my <<Night scenes of Nanjing Road>> series on oil.  And it was from that moment that I no longer had to imagine the warmth of homecoming.  I finally felt the real thing.       

Q:您在中国也已经有一段时间,你对中国的艺术绘画作品又有些什么样的感受?
Q: You have stayed in China for quite a long period of time.  What are your views on China’s art scene?

A:我在中国的这几年,参观了不少美术馆、画展、画廊和莫干山等艺术园区、艺术街。总体感觉这里的艺术含金量和媒体所报道的有所差距。我看到很多当代艺术家的作品,“似曾相识”,明显受到欧美当代艺术的影响,有些作品生搬硬套,完全没有原创性,没有将自己的感情在作品中表达出来,观赏者无法与画家进行心灵沟通。而绘画本应是艺术家心灵的闪电,心灵的告白。
A: Over the past couple of years I have visited many art museums, galleries, exhibitions and cultural districts like Mo Gan Shan in Shanghai.  My personal take is that there is a disparity in the quality of the paintings described in the local publications as compared to that actually on display.  You keep experiencing a feeling of déjà vu when you sieve through the paintings of the local artists.  The influence of modern European and American art is prevalent but the pieces often looked stiff and lack originality as well as individual flair.  As such, the audience finds it difficult to establish any connection to the intents of the artist, which is a pity.  A good piece of art should always be able to reveal the soul and reflect the moments of inspiration behind its creation. 

Q:作为一名新家坡资深的画家,你对现在年轻的艺术家有什么建议?
Q: As a highly regarded senior on the Singapore art scene, do you have any advice to offer to the new generation of artists?

A:我对他们有四点建议:
 1. 在艺术的道路上永远走自己的路,不要拾人牙慧;
 2. 不受西方艺术潮流所误导方向,坚信艺术的真诚才是画家真正的本色;
 3. 在艺术的浩瀚里不断地汲取养分充实自己,提高自身文化和艺术修养水平;
 4. 在无所适从的当今,画界应返朴归真重回起点,多化一点时间来研究绘画的技巧 ,练好扎实的素描基础,建立自己的绘画风格。    
A: I have four pointers to share with them:
In the realm of art, always choose to walk your own path;
Resist falling prey to the misguided ‘new art fashions’, some of which are coming from the Western art world.  Holding firm to the earnestness of art creation is what a real artist should stay true to; The depth of art and its reach are incredibly encompassing.  It is crucial to constantly expand and raise your understanding of your cultural heritage;Ignore the noise of art implosions around.  Instead, revive the roots of art, go back to the basics.  Get a firm grasp of the techniques of painting and achieve a solid foundation on the principles of art and create an unique style for yourself. 

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