赵培生的陶艺作品《溃败》

赵培生的陶艺作品《溃败》

赵培生的陶艺作品《溃败》

日期:2013-10-21 14:05:03 来源:
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名家 >赵培生的陶艺作品《溃败》

    让我用心来朗读 用眼眸来触摸谛视它
    直觉告诉我:
    《溃败》是一簇簇突兀的盲文。
    赵培生(Pei Sheng .Zhao 1965~艺术教授,陶艺家)的陶艺作品《溃败》系列使我读到了《金刚经》中“应无所住而生其心” 偈语的禅味,作品在无所住的流变形态呈现的是现在时态的塌陷、崩溃,亦如病树前头那万木的春天,是绝唱也是前世欢歌。
    《溃败》系列的形态语意是酷似使慧能顿悟的,运动的剖面截图。作品构成的发端在虚拟中也暗合了霍金(Hawking 1942~英国理论物理学家)遐想宇宙黑洞的奇点,它在述说着一个终结的另一个开始。宇宙在扩张、膨胀、生长递增中颠覆的是以往的一切已知。作品的美则是对这生命运动迹象的意象的扑捉。它表现收缩的暗空间,也是反向的扩张……内敛、隐退、含蓄、塌陷、递减、退步是道极之美的否极泰来,是丑陋的背反。             
    通常陶艺作品是个体空间的占有来体现的,作品是阳空间为阴。作品是与之外的空间发生虚实的阴阳兑换关系,构成物体的美感、他几乎都是扩张的,努力的使作品的主体放大,具有视觉空间最大化的占有率。 空间的虚与实是无限的,与具体的作品体量而言它又是有限的,就如作者赵培生所言:  “弃形存意是我作品的内核,我抽离物象模糊尺度与体量概念。我觉得打破尺度概念很重要,当作品放在一个无参照物的时空里,看起来非常非常之大。所以,我的作品趋向于抽象与具象之间。因为在《溃败》外延和空间的实处没有明朗的具象,我觉得这是个莫名其妙的‘虚象’,它就是我要的东西。”  赵培生的陶艺作品是自省、内敛、含蓄的集合体,虚含万象的“虚象”使作品完成了对体量感的艺术诉求。这是一个渐进的系统,在不断摸索过程中搜救自己的灵魂。  回首看看他以往的陶艺作品:2001年代《萌动》系列在扩张中求体量;2004年《大无限》系列寄予内敛中求博大;2011-2012年的《太湖石》系列则是模糊了瘦、漏、皱、透、丑的具象羁绊,以自己的点、线、面语言结构作品。  赵培生经由上述的系列作品的实践很艰苦的摸索,并以三级跳的方式完成了2013年《溃败》系列的蜕变。这是一个重要的开端,为此,作品抽象的实体陶土中虚开了一个虚洞,使有限的实体滑落在塌陷的边沿之后的想象。意象的大无限在此“虚象”中成就。  赵培生的作品是塌陷,是洞开生命的滑落运动,是生命轮回周期的溃败,这是个大胆的命题。他不同于贾科梅蒂(Giacometti1901~1966瑞士超存在主义雕塑大师,画家)是融化式的衰减,作品暗喻的是阶梯式的减小或长大,他的贡献是减少的运动来表达生命的瞬间,凝固的一隅是递减的定格。《溃败》在体量上更不是形似与马约尔(Aristide 1861~1944法国雕塑家,画家)是对空间膨胀,从而达到与空气的交换和与空间的平衡。
    《溃败》是不含成见的否定当下,同时又是溃败对溃败的否定。他舍弃了封达那(Fontana1899~1968意大利雕塑家,陶艺家)的刮痕和凹陷的语言符号,将刀锋与折痕转换,在窘迫的空间挤压下使塌陷成为了溃败黑洞的边沿。
    《溃败》是要一切都走向流逝,一切都要成为过去,一切又都是“虚象”的无限。这也是西方现代主义的核心,否定既肯定,肯定也是否定。毕加索所说:现代艺术就是不断破坏的集成。《溃败》从时间流逝和运动变化的角度出发,是对尼采(Nietzsche1844~1900德国著名哲学家)宣布的上帝死了,以及应声附和的艺术也跟着殉葬了的诘问。
    作为职业教授的赵培生,他的作品是振作的积极和乐观的。是在溃败的运动中看出希望的阡陌之路,是天地之间的不仁之仁的美丽梦想。  作为日常生活中的赵培生,在QQ上曾自称是“鲁丁”的山东汉子,对世事百态的反应是缓慢的迟疑和谦逊的温厚。但是,在他作品的象外,我们不难发现了他内在的本心,那是率性的敏锐和迫切的粗野。他在用脆弱的个体生命来面对无情的自然,直面世态炎凉人情冷暖,做一次视觉的无畏的抗争。  于是,在新作《溃败》系列作品上,我看到了赵培生与先贤的避让,看到了一爿爿颓废的残垣断壁上是塌陷的洞孔,继而依照他的“虚象”滑向《溃败》之后的新生。
    交上一篇善循的读后感, 以付好友培生展事之托。
    2013-8-19于沪江大学旧址
                
    Reading Being Defeated
    I read it by my heart
    I touch it with my eyes
    My instinct told me the Being Defeated is actually a cluster of articles by braille alphabet
    The Being Defeated series of pottery works made by professor and artist Peisheng Zhao remind me of the spirit of Zen from the famous Buddha chant in Diamond Sutra: 'Persisting for nothing, then you will get everything.' The wild outline of his pottery indicates the collapse and disintegration of current times, closely resembling the Chinese verse: 'After the illness of one tree, there will hopefully come out the spring of ten thousand trees.' It is not only the masterpiece of our age but also the happy song of the previous life.  The shape and meaning of his pottery series are much like the moving interception picture that gave an epiphany to Hui Neng, sixth patricach of the Zen. Zhao's works compose a beginning point like a “Single Point” which indicates a new start at the end of an old era. “Single Point” is thought to exist in the cosmos by Steven Hawking (A famous English theoretical physicist ). In the process of expansion, swelling, and life increasing, it is known that the past is inverted. The beauty of    Zhao's works exactly catches the images of this moving process. It expresses the shrinking dark space, but meanwhile reflects reversed extension. The movements like estraint, retreat, connotation, collapse, decrease and retrogression bring people wonderful feeling after enjoying seeming-wrecked works, which indicates the antinomy of ungainliness.  Generally pottery works are embodied by the occupation of individual spaces, in which Yang effect of works is based on Yin space. And works form the beauty of objects by exchanging Yin and Yang with its external space. It’s almost extending all the time to magnify the main subject of work in order to achieve the biggest occupancy ratio of visual spaces.
    The Xu and Shi (Reality and Fantasy)of a space is infinite. But when it comes to specific work, the relationship of Xu and Shi is finite. Just as the artist Peisheng Zhao himself says: 'Abandoning shape but keeping meaning is the inner core of my works. I remove image from my works to overshadow the concept of dimension and size. I think it’s significant to break the barrier of scale concept and works seem to be tremendous in a space without any reference substance. Therefore, my works tend to exist between abstraction and concretization. Because there is no clear concrete image in extension and external space of Being Defeated, I think it’s an indescribable in-between virtual image. But it’s exactly what I want.' The pottery works of Zhao are combinations of introspectiveness, restraint and connotation.The 'virtual image' that containing all images makes his works equipped with great artistic appeal in terms of size aspect. It’s a progressive system, in which we search and rescue our souls while fumbling forward.
    Let’s have a look into his previous works: Budding series in 2001 kept a perfect balance of proper size and extension, Infinity series in 2004 sought a feeling of vast and Stones of Lake Tai series in 2011 and 2012 bedimmed the fetters of concrete image such as tighting, leaking, crinkling, penetrating and uglifying and used his own language of points, lines and surfaces to structure works.        Mr. Zhao have been exploring hard on the artistry road through those works mentioned above and finally made the Being Defeated series in 2013 in a triple-jump way, which meant the rebirth for him. It’s an important new beginning. It seems that a virtual hole appears on the surface of pottery clay and restricts entities fall into fantastic imaginations behind the edge of collapse. The great infinity of art image has been accomplished here.  Zhao’s works embody collapsing which is the slide movement of opening new life and the defeat of regular life cycle. Mr. Zhao is so ambitious that he chooses such a wild idea. Different from the works of Giacometti (1901-1966, Swiss sculptor, artist), Zhao’s pieces imply multistep increasing or decreasing. Zhao's contribution is to reveal certain transient  moment of life through reducing movements. In his works, solidification is just on the behalf of progressive decrease. As for size, Being Defeated series are distinct from the pieces of Aristide (1861-1944, French sculptor, artist).They focus on dilating space so as to gain the effect of exchanging air and balancing space.
    The Being Defeated series deny the present reality without prejudice, but they also deny defeats themselves too. Mr. Zhao refuses using the scratches and dents as language sign, which are symbols of Fontana(1899-1968, Italian sculptor and ceramist). Instead, he converts blade point into folds, making the edge of black hole collapse under stern space squeezing.
    The Being Defeated series give the viewers three important lessons: everything is going away, everything is destined to be past and everything is the infinity of 'virtual image'. They are also the core of western Modernism: denial and affirmation exist at the same time and affirmation is just denial. Picasso once said, 'Modern Art is the integration of unceasing destroy. 'The series are powerful interrogatories towards Nietzsche (1844-1900, German philosopher)’s words 'God is dead'  and echoed 'art is also buried with the death of God', from the perspective of time lapse and movement change.
    As a professor, Peisheng Zhao create positive and inspiring works. He conveys a message of seeing hope in depressing defeat and seeking the beautiful dreams to set hearts free.  In daily life, however, Mr. Zhao, a man from Shandong Province modestly calling himself “Lu Ding” in the virtual web space, faces everything with tolerance, sincerity and gentleness. But we’re still able to find his inner intention, a mixture of wilful acuteness and tonic wildness. He’s always bravely confronting with the merciless nature, the fickle reality and cold human world and fearlessly fighting with them by hope and dreams in his visual works.          Thus,through the new Being Defeated series, I realise that Peisheng Zhao shows his respect towards  wise men of the past but finds his own way of art. I see the holes on the decadent wreckages, on which a marvellous rebirth represented by Being Defeated arises on the base of his own 'virtual image' theory of art.

    professor Shanxun Xu  at the site of the old Hujiang University

    19th August, 2013                                     
            

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