何杰:遣物症

He Jie: Disposable attitude


何杰:遣物症

文\王海涛


在依凭大观念为审视法则的创造性时代,个体极端意象成为带有神秘色彩的现实景观,而具有普遍意义的精神转换迫切需要在艺术语言上得到有效的伸缩。人们对于艺术语言的迷恋,源于视觉的抗争,经济与文化不断的升腾将某种虚空的审视方式引向了制高点。在这种飘升感中普遍缺乏实实在在的内在积淀,跨越式的疲乏行进将艺术创作偏离了具有文化美学的范畴。也导致更多艺术创作者不趋从自我内心的感知及文化态度,而沉陷于某种无基点扩张的短暂现象中。艺术家不能为了获得某种具有成效的文化经验,而丧失了通过自身在具体文化背景中体悟得到的深层文化追求。而何杰在这个社会背景下的艺术创作是落实于内心直接的体悟,他的油画一出现便带有强烈的个人心理律动的轨迹,略带感伤的自述与外界种种物态的明确阐释形成了极具反差的对抗。存在于心迹的独白,在遇到不同欣赏力量的解构时都能控制在深沉的范围内。


何杰的油画具有明显的“鲁美现象”,这与他本硕均毕业于鲁美有较大关系。东北当代艺术中尤其架上绘画多数强调叙事性的特征,同时具有强烈的绘画性和笔触感,作品往往具有深沉、厚重的基调,并且追求力量感和爆发力。但多数东北籍或具有东北学院背景的艺术家的艺术创作仅仅停留于对视觉的追求和绘画过程的快感中,而很少追求艺术本身的意义,以及艺术与个人表达、时代特性的思考。何杰的艺术创作其实也延续了东北的艺术风格,从绘画性和具有强烈表现风格的笔触以及早期画面多数以黑白呈现上均不难看出这种特点。但何杰在延续这种艺术创作风格的同时在自身绘画中强调创造一种空间感,他将现实与虚拟并置于自己创造的空间中,在对于物象的被动营造和自身精神的主动再造的过程,以绘画的形式呈现。在他的绘画空间里存在着客观的物象和精神的转化,以具有特殊指向的事物原型将观者引入对于某种事态的思考,同时通过自身的精神转化将具有普遍意义的心理状态冲击观者的思维感受。


在他的近期作品中让我有一种微妙的感觉,除去对空间已有的感受外,与何杰内心独白有一种强烈的碰撞。他将每天对于周遭环境的细微感知,留在了每一天的笔触里。对于生命的记忆开始由沉重的寄托转换为任意的遣置,这也是他预先的理性设置——“从视觉痕迹到心理痕迹的转变,绘画将被看做心理痕迹的书写方式”。这一系列新作抒写意识明显多于绘画意识,这使个人的艺术创作从观念意识的原有概念上追求拓宽的有效举动。如《我梦想此刻发射的是蜡烛》,作品标题是何杰的某一时刻的特定心声,与早期作品中对于某个特定事物的精神投射存在本质区别,主观思考被刻意强调,追求本身感受的纯度被不断强化。而《我的剧场》、《客厅》、《有风景的信纸》等作品,更是在一定意义上脱离了以往对于既定物态的依赖,重新在自我的精神空间中再造了纯情的思想感受,引发人们对于某种精神通感的玄想。


从对于物化的感伤到对于记忆的遣置,何杰的心理背景由个人的精神感知不断的偏移到创造一个时代的精神历史。艺术家在碰触世界的时候其实重要的不是在艺术创作上的形式压力,而是以一种个人的方式从自身出走再到个人回归的过程。


2013年2月2日于康营


He Jie: Disposable attitude 

By Wang Haitao 


In the creative age in which the great idea will be taken as judgment principle, the individual extreme image becomes a reality scene with mysterious color while the spirit transformation containing common meaning is required to obtain effective stretch in the art language. People’s infatuation into art language originates from visual fighting, and the continuous development of economy and culture may guide some kind of void judgment method to the peak. In this floating atmosphere, substantial inner sediment is generally insufficient, and leap-type fatigue progress deviates the art creation from range of cultural aesthetics. This also causes more artists failing to pursue their inner perception and cultural attitude, so stuck in a temporary phenomenon in which expand without base point. Artists cannot trade their deep pursuit in culture under specific cultural background for certain effective cultural experience. However, the art works created by He Jie under this social context directly reflect his insight in the true heart. His oil paintings contain trace of intense personal psychological rhythm with slightly sentimental autobiographical account, which form a highly contrast with many definite illustration from outside. The monologue existing in the deep heart can be controlled within dark scope when encountering with deconstruction of different appreciation strength. 

The oil paintings of He Jie have apparent “Luxun Academy of Fine Art phenomenon”, which mainly result from his graduation in bachelor and master from Luxun Academy of Fine Art. In the contemporary art in northeast, especially most of easel paintings emphasize characteristics of narrativity, meantime possess intense painting feature and sense of brush stroke. Those works tend to pursue strength and explosive force based on profound and massive keynote. But many art works created by artists who are given birth to in northeast or who have background studying in Northeast College only focus on visual pursuit and excitement in the painting process, while few of artists will pursue true meaning of art itself and thinking about art and personal expression, age characteristics. Actually, the art works of He Jie also inherit from art style of northeast, which can be seen from the painting feature and brush stroke of intense expression style, as well as original painting surface in black and white color. However He Jie emphasizes to create a kind of sense of space in the painting while inheriting from above art style. He integrates into the space created by him with reality and virtuality and presents them in the form of paintings in the process of initiative recreation of passive construction and self spirit for objects. In his painting space, the objective objects and spiritual transformation exist; it guides viewers into thinking on certain situation through matter prototype with particular direction, meantime through spiritual transformation of self, impact viewers’ thought feeling by psychological status with common meanings 

I have a subtle feeling on his recent works, other than existing perception of space, it almost collide with internal monologue of He Jie. He left in his brush stroke of everyday the minute perception on surrounding environment in every day. Those memories of live begin to transform from deep dependence to arbitrary disposal, this is his rational pre-setting-“the transformation from visual trace to psychological trace, the painting will be deemed as a written form of psychological trace”. In those a series of new works, writing awareness is obviously more than painting awareness, this is the effective action that will be taken to pursue expansion from original concept of conceptual awareness for personal art works. For example, in the “I dream it is the candle emitted at this moment”, the title extends He Jie’s true perception at a certain moment, which is radically different from works at the early stage in which the spiritual projection on a specific matter is displayed, the subjective thinking is emphasized and pureness of perception pursuit is continuously enhanced. However in the works including “My theatre”, “Living room” and “Picturesque letter paper” etc., to a certain extent with respect to meaning, deviate from dependence on established state of matter, recreate pure mind and emotion in the self spiritual space, which also guide people to fantasize about common sense of spirit. 

From sentiment on materialization to disposal on memory, the psychological background of He Jie is progressively shifting from personal spiritual perception to the spiritual history creating a generation. It’s not important for form pressure in the art creation when artists get touch with the world, but the process from themselves to personal regression in a personal way. 

By Yu Kangying 

2 Feb. 2013