刘广经纬图式的意义

Significance of Liu Guang’s Longitude & Latitude Schema

 

文 / 徐亮  by xu liang

 

看到刘广的画是2018年岁末深圳工作室。几张画笔勾勒的经纬交织的无数小方块吸引着我，好像古代排兵布阵的战场，又好似难觅的天际图像，莫名、深邃。非传统的山水、人物或写意花鸟水墨画般写实、流俗。直觉中，水墨材料铺就的经纬图式透出一种沉稳的自信和参透人世的觉悟。

I saw Liu Guang’s painting in the end of 2018 in his studio in Shenzhen. Endless small squares, which are outlined by several lines and woven together like longitude and latitude attract me. It looks like a battlefield filled with soldiers or an image in the sky difficult to be found. What a profound artistic conception it is! It isn’t like conventional landscape, figure or freehand birds and flowers paintings, which are realistic and vulgar. Instinctively, the longitude & latitude schema made by ink shows Liu Guang’s dispositions— calm and convenience. Besides, his works embody his consciousness and understanding about the world.

 

刘广毕业于西安美术学院国画系，传统文化滋养着他的精神追求，既使毕业二十余年，在深圳这个最前卫的都市他在商业美术设计领域亦是日益精进，成就斐然。

Graduated from Chinese Painting Department, Xi’an Academy of Fine Arts, traditional Chinese culture influences Liu Guang’s spiritual pursuit. Even if he has graduated for over two decades, he has always been seeking for greater achievements in commercial art in Shenzhen, one of the most prosperous cities in China.

 

经纬图式是他最新创作的视觉符号。灵感来自他童年时每天放学后在父亲开办的铅字印刷厂帮父亲捡铅字、码铅字工作的启发，对铅字的熟知和对水墨的执着是他创作经纬图式的源泉。岁月流转，伴随深圳这座商业都市的滋养，多年商业美术创作与内心对水墨绘画的执着坚守相互交融，自然流淌演化出他对当代水墨的一种自我认知，而这个认知过程成为他理解和参悟这个世界的一个通道抑或是他从事艺术创作的担当。面对他专注于形式的重复、解构、极简、抽象等艺术作品时，在艺术的本体语意和视觉表达上我们仿佛能感觉到他身上散发着蒙德里安的情致。在他的画面里，一方面是不断重复的浓淡随意的墨色来解构他画面里的构成元素，另一方面他通过无数细微的墨色变化进行深入浅出的斟酌和把玩。诸如此类的探索让他在以看似单纯的思考主题下演绎出了异样图示化的视觉效果，从理性逻辑中的抽象表达产生重复并置下的画面秩序感。如此，也使刘广的作品蒙上了一层神秘或者常人看来晦涩、难懂的陌生感，引人不停地追随着他的图示思索，从而对他的抽象绘画产生猎奇般的哲思追问。

Longitude & latitude schema is Liu Guang’s new created visual sign. Enlightened by his experience that helping his father to pick up and accumulate types in the type factory established by his father in Liu’s childhood, the acquaintance with types and persistent pursuit for ink are his sources of longitude & latitude schema. Time flying and nourished by business culture of Shenzhen, integration of abundant experience for commercial art and persistent pursuit of ink painting forms his own understanding about contemporary ink painting and the process of understanding has been a road for him to understand the world and undertaking running through his art career. Facing his works which focus on repeated, deconstructionist, simple and abstract form, we seem to feel a sense of Mondrian style from him in the artistic ontology semantic and visual expression. In his picture, on the one hand, constantly repetitively random ink colors deconstruct the elements forming his picture; on the other hand, he explores the essential of schema with profound and easy approaches from various subtle changes. The exploration leads him to deduce unusual visual effect and a sense of order abstractly expressed by repeat elements rationally. Therefore, Liu Guang’s works are obscure, secret and hard to understand, enlightening us to think according to his schema and seek for the meaning and connotation of his abstract paintings.

 

刘广的创作显示出其深藏的天赋和点击力量，这与他沉稳的性格和淡然的气质有关。其内敛、坚韧的性格使他没有象其他人一样学习、模仿众多艺术家过多的画面要素。他据此自我砥砺，达到艺术创作少有的端点，即以个人的极端力量来触及水墨艺术的边界，并在毫不妥协的抗争中强势突击、不落俗套，显示了他以个人艺术能量所能达到的理想状态。这是一个艺术家具备的基本禀赋。

Liu Guang’s works shows his talent, which is related to his restraining and tenacious disposition. Therefore, he doesn’t imitate overmuch elements from other artists’ works. He encourages himself to climb the peak of art. In other words, he tries hard to reach the edge of ink art by his extreme power and departs from convention by his persistent fight, showing his best situation within his own ability. This is a basic talent of an artist.

 

刘广的经纬图式不是简单、固定的经、纬两者之和，而是各述异己的延展性表述。具有千变万化的超现实的转化路径，或者说，他是将人生的矛盾、纠缠、无奈画作了一对对有序的正与误、对与错、黑与白、现在与未来等诸对矛盾范畴，并编码合成在他的经纬图式之中，潜隐出时代的气息和所谓新时代勃勃生机下的暗影，聚焦的则是现代社会生存环境所导致的时代冷漠、单调和缺乏个性的集体主义怪象，特别指涉出现代主义所带来的视觉上的盲点，延展出他对现代人精神生活品质的质疑或解析。刘广的绘画创作是个人存在与现实处境的无限冲突的矛盾呈现，他通过创造经纬符号的横与竖的无数重复和分离关系聚合成为他个人对现实生存体验的笔触痕迹。并在摆脱或超越世俗生活的背景下达到对文明品质的极端性追求。从而运用理性的克制态度制约多样情感的无厘头泛滥表达。在画面构成上，有形与无形、覆盖与交叉、虚与实、浓与淡集合成阙，看似章法随意，其实，始终处于他可控的无限游离与延伸路径的笃定之中。

Liu Guang’s longitude & latitude schema isn’t only the sum of inflexible longitude and latitude but their expand including surreal routes for transition. In other words, he mixes the conflicts and tangles with his paintings revealing a series of orderly contradictions such as correct and incorrect, black and white, present and future, etc. Besides, he encodes these contradictions in his longitude & latitude schema with the atmosphere of the current era and the shadow under the so-called “new era”. His works focus on strange phenomena led by collectivism such as indifference, tedium and lack of unique personality, etc., especially the blindness in virtual generated by modernism. Besides, his works expand his analysis or doubt about the quality of our spiritual life. Liu Guang’s works embody the conflict between our existence and current situation. Constantly repeated cross lines and aggregation of separate relationship become his track for life and extreme pursuit for the quality of spiritual life under the background of vulgar life. Thus, he can restrict nonsense expression by his rational attitude. When it comes to the painting itself, it’s an integration of a series of conflicts, such as tangible and intangible, cover and cross, empty and entity, thick and thin, etc. It seems that it’s at random, in fact, he always controls the range of “endless” free and extending route.

 

可以想象，刘广每天创作时的情绪是怎样的纠结和漫长。而一旦越过这个坎，他便会根据时间和心绪的起伏变化反复进行他对宣纸的勾勒、点、染、触、磨等心理和行为的过程。这种带有修行样的体验方式将我们从日常修行的仪式与概念认知上转换到使艺术成为日常的行为之上，从而营造出只有他自己可以感觉到的静穆空间，仿佛是一个佛家修炼的气场，游移着他对人生、社会、环境和未来乃至太空世界的幻象，在逼仄的视觉和幻象空间里把自己带入到一种心理超验的精神境地。

We can imagine that how entangled Liu Guang is when he is spending long time to finish his work. However, if he once overcomes the difficulties, he will think about his process of thinking and actions during the time he finishes the works (He repeatedly outlines, point out, dyes, hits and grinds on the rice paper when he is devoting to his works.) according to time and changes of his moods. The way like cultivating spiritual practice brings us from daily ceremonies, concepts and cognition to make art become one of our actions in daily life so as to make a quiet space which is only felt by himself. It looks like a space which is used to cultivate oneself according to Buddhism doctrine, with his imagination about life, society, surroundings even the outer space in the future and brings himself from a narrow vision space and imagined space to a transcendent spiritual field. 

 

由此观之，刘广的经纬图式符号以修行的方式与中国古代传统文化的根脉相连，在静思－顿悟－冥想的递进中得以观照大千世界、万物性灵，并在散漫无为中发现世间诸多矛盾集合庞杂的精神意味，在这种异质同构的表象中，刘广作品沉稳中的驿动，严苛中的活泼，无形中的有形精神品质便一览无余。

It’s obvious that Liu Guang’s longitude & latitude schema is linked to traditional Chinese culture by cultivating himself according to Buddhism doctrine. He observes the world and life by thinking and meditating, and he discovers the spiritual meaning of the collection of a variety of conflicts. We can fully understand the integration of calm and spiritual escape, serious and lively, and tangible and intangible from Liu Guang’s works from such kind of homogeneous and heterogeneous phenomenon.