似曾相识的风景

Déjà vu


Déjà vu:中文翻译为“即视感”,简单而言就是“似曾相识”,未曾经历过的事情或场景仿佛在某时某地经历过的似曾相识之感,既有可能来源于某种脑海中的虚构情景或是潜意识,抑或是对于梦境的记忆。

 

现实场景的视觉信号与潜在的记忆抑或想象场景发生了错位显像或场景叠加;就像在艺术创作中,被看到的所谓的“现实景象”,表现为作品即带有了不同的“精神景象”,比照现实亦或内心,这景象都是“似曾相识”。可能正是这两种景象的差异,体现了艺术家的艺术探索和哲学思考的所在。

 

似曾相识的风景,即错位于“现实”与“精神”之间的景象.

 

人去盘空的餐桌,集体窥视的人群,列队行进的乐队,杂蔓丛生的灌木……一幅幅貌似无聊甚至无意义的本不能称为风景的景象。艺术家涂曦用黑白灰的笔触和冷色调的大片平涂,构筑了一个个似曾相识的清冷梦境般的“现实”,无聊与疏离背后透露出隐隐的不安;荒芜的场景与无意义的行为揭示了生存的荒诞。

 

生于82年的年轻艺术家涂曦,在他的近期作品中,这些大大小小仿佛梦境一般没有色彩,又仿佛梦境一般虚幻:排列在砧板上的睁着眼睛的鱼,脱离了重力悬浮的食物,散落在墙角羸弱的群鸟,饕餮之后的残羹冷炙……这一切显得如此的不真实或称不可理喻和难以接受,难道这一切就是我们生存其中的现实?为什么我们只能看到如此不堪的风景?面对涂曦的作品观者可能会提出这样的疑问。如果借用“似曾相识”,就不难理解为什么现实经过了艺术家的观看和表现,最终呈现出如此的景象。

 

诚然,我们在作品中看到的一切在现实中不是这样,至少不会这样不堪;我们看到的或者说我们愿意看到的:是秩序、是美感、是美好、是色香味。靠着我们的选择性观看和以及下意识的心理保护,我们的周边的物象貌似越来越“美好”,但是不可否认的是:透过这保护层,每个人内心中或多或少的都深藏着各种隐隐约约的不安和焦虑,甚至是隐约的恐惧。我们在内心中努力建设或维系的“真实景象”背后却是挥之不去的困扰。我们都在做同样的事情,每个人都在把每天看到的“现实风景”替换成自己的“内心风景”,只不过我们想留在相簿中的或是晒给他人观看的必须要经过种种软件的层层的美化和修饰。

 

艺术家所呈现的就是绝对的真实吗?答案当然也是否定的:他做的是在努力的去除侵染到“现实”中的眩迷色彩;忽略人们堆积在脸上的硅胶表情;拔掉混杂在路边的塑料花草;让现实脱掉外衣裸露出来。也只有看到了真实的骨肉,伤痛了,怜惜了,放弃了虚伪,我们才能够本着现实,依着我们的祈愿,在心中画出真正的风景。

 

透过艺术家表现出的冷峻抑或疏离,甚至是一丝绝望,其实我们能够看到的却是一种渗透其间的大的关爱。

 

在大的情怀之外,如果关注一下小的细节,即可从涂曦的近期作品中观察到:人作为一种主体的渐渐离场,还有带有审美倾向的主观线条和笔触的逐渐隐去。面对有些甚至刻意空置或是虚化主体、大面积铲除笔触的画面,人们不禁会这样思索:人的主题和显像线条抑或笔触这种表现形式的逐渐隐去,是为了减少主观的审美取向和表达,进而换成了风景或称物象与内心的触碰后自然生成的象;在试图对于象的客观的探索中,象与真实关系是否更接近我们内心当中的真实?相对客观的象又能透露出怎样的信息?

 

艺术家正是通过这种所谓的离场和抽离,试图找到相对客观的人类生存的物象痕迹或内心真实。

 

就像这个社会中的芸芸众生一样,大家都面对着现实社会中看似正常的一切,很多人认为这就是正常的,他们生存其间,或麻木不仁,或怡然自乐。但涂曦始终顽固执着地,用画面将其中的荒谬表现出来, 通过内心保持着对这个社会的独立思考、自省和批判,不随波逐流,不人云亦云。

 

就这样 艺术家远远地凝视着那些丰盛之后的杯盘狼藉,亦或是那些繁荣之后的一地荒芜,冷峻地描摹出内心的风景。

 

一切,似曾相识。


/张一舟


Déjà vu: The Chinese translation is “Jishigan” (instant visual sense), in short, “seemingly familiar” a feeling of having experienced some things or scenes somewhere and sometime while they have never been experienced. It possibly comes from a fictitious scene or sub-consciousness in our mind, or a memory about a dream.

 

 

The visual signal of a realistic scene, the latent memory or the imaginary scene have been dislocated or overlaid with each other in presentation: just like in the creation of art, when being presented as works, the so-called “realistic scenes” instantly reveal different “spiritual scenes”. Compared with either reality or inner self, these scenes are “déjà vu”. Perhaps it is just the difference between these two sorts of scenes that reflects the artist’s art exploration and philosophical thinking.

 

Déjà vu, the dislocated scenes between “reality” and “spirit”.

 

Dining table with no one left but empty plates, stealthily watching crowds, marching bands, over-grown bushes…Pictures of seemingly boring and even meaningless scenes that cannot be called “scenery”. Artist TuXi uses brushwork of black, white and gray and large areas of plain painting with cool colors to construct several clear, cold and dreamy déjà vu “realities”. The indistinct intranquility revealed behind boredom and alienation, as well as the deserted scenes and meaningless behaviors, bring to light the absurdity of existence.

 

Young artist Tu Xi was born in 1982. In his recent works, things of different sizes are like dreams, colorless and illusionary: fish placed on the chopping board with their eyes open, floating food without the confinement of gravity, the scattering frail birds at the corner of a wall, the odds and ends of a meal…All of these appear to be so surreal, unreasonable and unpalatable. Aren’t these the reality in which we all live? Why can we only see these unbearable scenes? Audience who face Tu Xi’s works might raise similar questions. If we quote “déjà vu”, it will be easy to understand why reality looks like this after the artist’s observation and presentation.

 

Surely, what we see in the works is not the same as what we see in reality, at least not so unbearable. What we see, or what we want to see is order, beauty, happinessand aroma. Due to our selective observation and subconscious psychological protection, our surrounding images seem to be more and more “beautiful”. However, what can’t be denied is that behind this layer of protection, every one’s heart conceals more or less all sorts of indistinct insecurity, anxiety and even fear. Behind the “realistic scenes” that we try hard to establish and preserve in our heart lies the lingering puzzlement. We are doing the same things. Every one replaces the “realistic scenes” he sees with his own “inner scenes”, only what we want to keep in the albums or show to others has to undergo all sorts of beautifications and decorations ofsoftware.

 

Is what the artist presents absolutely real? The answer is of course negative: what he does is making efforts to remove the dazzling colors that tainted “reality”; ignore the fake expressions that pile on people’s faces; pull out the plastic flowers and grass along the roads; strip the reality down. Only when we see the genuine flesh and bone, feel pain, sympathy and give up hypocrisy, can we paint the real scenery based on reality in our heart and according to our wish.

 

Through the coldness or alienation, or even a sense of despair that the artist expresses, what we can see is in fact a grand love and care.

 

Grand feelings aside, if we pay attention to small details, we can observe from Tu Xi’s recent works: as the main body, people gradually leave;the subjective lines and brushwork with an aesthetic tendency gradually fade as well. Facing the purposely-made-vacant or dimming pictures with large areas of painting without brushwork, one cannot help but think: the gradual fading of these ways of expression, including people as themes, visual lines and brushwork, serves for reducing the subjective aesthetic orientation and expression. And then it is replaced by the natural images produced from the collision of inner self and scenery. During the subjective exploration of image, is the relationship between image and reality closer to the reality in our heart? What information can this comparatively objective image reveal?

 

It is just through this so-called absence and alienation that the artist attempts to find a comparatively objective trace of image of human’s existence or an inner reality.

 

Just like all living creatures in this society, we are all facing the seemingly normal things in reality. Many people think this is normal. They live in the society insensibly or pleasantly. However, Tu Xi stubbornly uses pictures to express the absurdity all the time, maintains independent thinking, self-examination and criticism about this society in his heart, never sails with the stream or follows the herd.

 

Just like this, from afar, the artist gazes upon the leftover plates after a feastor the barren ground after prosperity, and severely portrays his inner scenery.

 

Everything isdéjà vu. 

 

 

Text by Zhang Yizhou