在画界常说一个词“悟性”或“开悟”,这似乎成为美院学生是否学有所成 的一个无形标准或是个包涵诸多问题的根本。深究这个概念又与“禅宗”佛学连 在了一起,可禅宗的棒喝开悟是要证悟的,不是你说自己开悟了就开悟了的。当 你站在瞿倩梅的作品面前会联想到这个词— “开悟”,接着又联想到其他,画 里话外什么的,或许这是我职业生涯的一种反映吧?
“天才+勤奋”是取得正果的必需条件。两年前倩梅从巴黎回来,经美院的几个 教授介绍到我的工作室,我了解到她基本上没有什么专业学习的经历,但也许是我的 巴黎情结所致,也许是她画面中某种不确定元素价值的吸引,也许两者兼而有之,促 使我酷似一个赌徒下注破格录取了她。以后她便着迷、认真地做着教学中每一个专 题研究......研修班里有国内不同美院毕业的本科生、研究生,还有专业干部和专业 教师、职业画家等。瞿倩梅的专业实力在学习抽象课题实践上表现得极为出色。从始 至终她是班里***努力的学生,她的勤奋、刻苦、执著感染着其他同窗。
我始终认为绘画天才绝不是一种模式的呈现,何况画里太多比才气更重要 的东西,那都是后天努力而来的结果,当然前提是必须有才。画画其实***重要 的不是画画“到位”,而是画在“道中”!艺术追求全在路途中,走在道中才 是重要的,艺术应该是生命的呈现而不是终结。画中***重要的应该有无限强大 的生命力,有无限延续的张力和延绵不断的气息,有一个独立存在的场域。
瞿倩梅的抽象画里有种跃跃欲试、激动不已的情绪,那种既真切具体又出其 不意的有感而发,完成着不在场的在场。这与她的独特经历,她的苦难,她的锲 而不舍的个性相关联。她与眼前客观的决裂必然催生出物质语言的疯长。这类纯 粹化来自对一种物质的沉思,来自对混合的渴望。“它并不仰仗理解的逻辑,亦 不依靠感觉;它是一种飘移,一种生成,断而复续,续而复断的踪迹,作为激情
而存在着。它偏嗜的材料便是文化,文化便是一切。⋯⋯此刻艺术开始出现。色 彩也是如此。艺术色彩不再与自然色彩相符了,色彩便开始产生......一种作为整 体之悦的纯粹面随时要将欣快、满足、适意与摇撼、恍惚、迷失区分开来。它呼 出细节,换来微末幽隐的幻象。”(引自罗兰·巴特《文之悦》)从物质团块中 释放精神,以材料诠释生命。
她在如此短暂的学习后抵达这般境地。这不是循规蹈矩,也不是按图索骥, 是一个人在危机中的品行,是一种“觉悟”,是在***熟悉中挖掘出陌生。这种物 质语言主体性的转换意识的建立难道不是时代的呼唤吗?艺术没有“是与非”, 只有内涵的交替变更,强度和素养的潮起潮落,生机勃勃,大器晚成。
Beyond the Paintings
Painters like to talk of the notion of “comprehension” or “enlightenment”, which seems to be an intangible standard to assess the students of fine arts or the basis of many derivatives. In essence, this concept is linked with the “Zen” school in Buddhism. But the enlightenment in Zen has to be proved. No one is in the position to declare his own enlightenment. The works of QU Qianmei remind the visitors of the word “enlightenment”. Then I ponder on the implications beyond the paintings, which may be a habit cultivated in my career.
Talent and hard work are the preconditions of success. On her return from Paris two years ago, QU Qianmei was recommended to join my studio through several professors from China Central Academy of Fine Arts. She hadn’t received much professional study in fine arts, but I was prompted to accept her due to my Paris complex and the uncertain values in her works. This was like a gamble. From then on, she devoted herself fully to every research project in class, with undergraduates and graduates from academies of fine arts, arts cadres, teachers and professional artists. Her professional competence is fully expressed in the practices of abstract art. Since the very beginning, she has been the most hardworking student in the team. Her classmates are impressed by her diligence, assiduousness and persistence in arts.
I always hold that a talent in painting is by no means a copy of a model. There is something more important than talent in paintings gained through hard work, on the premise that the artist has talents. Actually, the most important thing in drawing or painting is not“in place”, but “on the way”. The pursuit of arts is a journey, and one has to make sure that he/she is walking on the right way. Arts should be the presentation of life rather than its end. Most importantly, paintings should have unlimited vitality, infinite tension, a sense of continuity and the existence of an independent field.
QU Qianmei’s abstract paintings display eagerness and excitement, which are the concrete and surprising expression of emotions, and delineate the presence of the invisible author. This is closely associated with her unique experience, her sufferings and her strong personality. The break-away from the immediate objective world will definitely promote the surge of material language. Such purity comes from the contemplation of material and a desire for blending. As Roland Barthes argued in The Pleasure of the Text,“It does not depend on logic of understanding; it refers to flowing, generating, proceeding after halting, and halts in continuity. It exists as passion. The material it prefers is culture and culture is all... And then arts come into being. Color is no longer the same as is in nature, and that’s how the color in painting comes into being...The purity from the pleasure of integrity is ready to differentiate pleasure, comfort, joy from shaking, trance and lost. It intends for faint illusion by introducing details.” This is the release of the spirit from the material and the interpretation of life through material.
She has reached such a height after a short study. She doesn’t follow the models or the principles strictly, and shows her characters when facing crisis, or “enlightenment”. This is the exploration of strangeness from the most familiar things. Isn’t the establishment of the transformation sense of the subjectivity of the material language the call of the era? There is no right or wrong in arts, but the alternative shifts of meaning, the ebb and flow of intensity and quality, and the abundance of vigor. A great talent takes time to mature.
ZHANG Yuan April 2011, China Central Academy of Fine Arts