[2013-9-3 7:10:51]

崔治中油画展《收藏欲望》9月8日在上苑艺术馆开幕

艺 术家Artist：崔治中（Cui Zhizhong上苑艺术馆2013年驻馆艺术家）

策 展 人Curator：R. A. Suri（加拿大）、陈平（Chen Pin澳大利亚）

学术主执Academic Executive：程小蓓 Cheng Xiaobei

城   市 City：北京Beijing

组织机构Organization： 上苑艺术馆Beijing Shangyuan Art Museum

展览开幕Opening：2013年9月8日下午四点 8/9 4pm

展览时间Duration：2013年9月8日----2013年10月15日

展览地点Venue：上苑艺术馆Beijing Shangyuan Art Museum

联系电话Phone：010-60635299  60635757

行车线路：京承高速12出口>右拐过水渠西行2KM>良善庄路口北行到底>右拐300m路北（北京市怀柔区桥梓艺术公社）

前言《收藏欲望》

R. A. Suri（文）

陈平、李龙飞（译）

 画家崔治中是一名多产的艺术家，其众多作品别具一格无不展现出其在艺术上追求创新的风格。他的油画作品用色大胆鲜明，构图独到极富特色，看似规整却流露出别于传统的技法。其轻快颤抖的笔触下色彩如同被透明般的涂抹又不乏一道轻微的墨痕挑明层次，这种“点彩派“主义风格的广泛运用，使得人们在视觉上有种几乎触电般的感觉。整观其作品，画布中有些部分几乎被单调空洞的几何图形充斥，看似无序混乱毫无稳感的搭配实则透出强烈的对比感，画家本身似乎将空间与错觉玩弄于笔刷之下。

崔治中有些作品中保留了一些具象元素，但狭义上讲也可归之为抽象表现主义风格。其画面色彩渲染饱和，在减少光感的同时兼顾了作品内在的空间维度，实现了类抽象表现主义的写意。这种衍生技法，其独特之处在于将所表现的具象更接近于客观形象而又在形象轮廓线条之外，并非颜色与客观形象的主观叠加；同时非特定性的技法，画家本身也在使颜色渲染更自然的靠近抽象主义风格；此外，画家也在借色彩的抽象表现，于无意与蓄意中实现新的艺术内涵。

崔治中的大部分作品都为中等尺寸，但相较于其它刻意的小幅度作品这些或许也能称之为偶然性的大创作，其笔触下强烈的线性点彩效果在每幅作品中都有展现。画家自身在用色上倾向将紫、兰、绿这些颜色之间进行生动形象地融合过渡，墨黑依然被选作在填充色中挑明层次的线条颜色，猫的作品系列也不例外。这一系列作品中，黑猫从复杂的色彩和写意的笔法中隐现出来，这种看似失真变形但又流畅的表现主义布局构图无不增强了画作的视觉效果。这里留白的出现不再只是画家在构图上的刻意安排，而是在对画中主要具象进行突出表现。作品中具像的选择并不仅限于猫，这种具像与留白在色彩上的相辉映正神奇般形成了和谐的抽象色域。

崔治中作品多为横向，但每副作品在色彩渲染上又各具独立的特色。画家自身极富创造性的用笔，着色，布局，构图，使得画面的呈现的效果不同于前述的两个西方流派的风格。这展现出了其在视觉语言和构图内上的独到的探索。

崔治中是一位老道而又多产的艺术家。其画作中色彩层次丰富，线条起伏多致，色彩与线条之间有机交错。这一特色虽不为他所独有，但相较于其他众多模仿色彩应用的艺术家，崔治中妙在创造。他那如同闪电般尖锐的构图的特色如同表现主义的血液，激情澎湃，又富有生命力。＂真实＂的精神必将是光彩辉煌的。不为名利，艺术家本身就致力于艺术创造，而非复制再现。艺术家也非完人，艺术探索的道路上难免有疏误，探索道路上的每一次驻足，本身是终点也是始点。正是艺术家在笔法、色彩、线条世界中孜孜不倦的探寻才造就了美学和哲学上的闪亮篇章。

Convergence/Incandescence

  The artist Cui Zhizhong is both prolific and inventive. His paintings, done in oils, are intense and reveal bold use of colour, line and unorthodox composition. Near electric in effect, short erratic brushwork is made use of, offering a broader yet similar “pointillist” mannerism, the colour being uniformly opaque and divided by slight traces of black. The artist appears intent on creating works with play with dimensional and optical illusion: subdivided, the canvas is invariably separated by near geometrical fields of bare white, the erratic intensity and chaos of the brush contrasted heavily by an “orderly” configuration of an absence of paint.

  A narrow categorization would be abstract expressionism, save for the figurative elements of several works. The opaque diffusion, diminished quality of light imbues the works with a subtle dimension and, less visceral, the result is for a quasi-impressionistic quality. This generative effect, wherein the impressionist proximity to objective depictions by use of colour beyond line, and the subjective trajectory of abstract expressionism in contrast, does not yet belong to a device wherein the artist obscures a quantitative relativity in compositional aspects. Further, the artist lends credence to parameters in colourist abstraction wherein the amorphic and deliberate join, yielding for a new ground for interpretation and perspective. 

  The vast majority of works are rendered in a mid-scale format, yet whether for the few lesser scale works or the occasional large format creations, the intensity of the aforementioned “linear fragments” effected by his brushwork are coherent and omnipresent. The artist’ spectrum prefers violet, blues and iridescent green to more sensational or vivid schemes. Black remains the sole linear division between the “mosaic” of colour except where the artist’ has opted to include figures such as the feline series. In this series, a black cat appears to rise from the chaos of colour, painted in an expressionistic manner, with evidence of bleeding and distortion to render a greater visual effect. The rear of the canvas here appears as no longer the central question of the artist’s compositional intention, rather than a oblique array to support the singular figure. The choice of an animal subject is not exclusively feline, other series depict insects hedging between the fields of colour, suspended amidst a nothingness of white (the same geometric field of separation) and act, in a curious manner, to illustrate the tensions between the otherwise conformist fields of abstract colourism. 

  A brief dialectic on the emergence of colourism may be in order to best contextualize the artists overall creative trajectory. Emergent as a trend in modern art, foreshadowing the Impressionist school, the compositional emphasis wherein colour would predominate line and hence, linear compositional traits, later developed as a core element for the Fauvists’, and later, the German expressionists, Western European and American schools of abstract expressionism alike. It would be an error to omit that the influence towards this emancipation from the line owes, in part, to the misinterpretation of seminal figures prior the establishment of Impressionism (which once known, faced severe critical opposition by the current academic circle of the era) when in consideration of Oriental paintings imported from the East. A general rule in the differentiation between depictions of the constituent “real” might lie in the Oriental philosophies axiom upon an essential, intrinsic portrayal of what lies in nature, and that of the Occident, a schemata where the “real” is constructed in consideration of colour, depth and colour. The latter’s philosophical invariance following the post-Renaissance era- compositional depth by way of illustrative attempts to capture the effect of a third dimensional representational value, occurs until the advent of the pre-Impressionist colourism. What is important in reference to Cui Zhizhong is that the influence of the Orient and misinterpretation which proved, evidentially, to be a qualifying factor in the revolution of European pre-21st century painting, appears to be a negligeable factor. In this light, the echo of influence of the Orient and its successive impact in the Occident does not return to the contemporary situation of the artist at work today in China. 

  The majority of Fauvist artists employed powerful fields of colour, a visual barrage yielding great emotive force in a rather naïf exploration. Abstract expressionism, in an adverse reaction to the predominant aesthetics of the era, sought to erase the tableau by way of an abstraction of the constituent “real” employing visual reduction and non-linear representational elements beyond the “tableau” leitmotif. The emergence of a destructive school of Occidental painting begun, the influence of colourism remained throughout the past century whether in attention to nuance, prevalent considerations of brushwork and gave advent to new perspectives of the portrayal of nature. In this sense, rules broken, a rupture wherein greater individual license was afforded and a non-elitist approach to artistic action was allowed to enter within the historical imperative of post-Renaissance “thought”. I mention the Fauvist school and the latter Abstract Expressionism due to a non-partial observation that, in contrast, the artist Cui Zhizhong apparently has opted for neither a naïf representational value nor gives evidence of a visual reduction in his works. The line is here given a qualitative new framework, a dimension wherein a quasi-pointillist aspect substitutes visual symbolism within the abstractive: the formative line belongs in the radically abrupt brushwork and dense “foliage” of colour which serve to act as the first visual tier in his composition. 

  Their exists an adversity as the artist equally makes use of the line (in an extremely simple, near “rude”-literal- presence) as the visual field is made subject to the same invention of a geometrical “fragment” of white by way of linear definition in major. The horizon of the canvas is thus spared uniformity and the depth contained into each unique sphere of opaque colour rather than a merging of a visually coherent plane. The effect, aforementioned, of a substantially inventive practice in the applications of brushwork, line and separation create a sense of dimension which ascribes to neither of the two formative schools of Occidental colourism. This is a unique enquiry into visual language and the dynamics of latent tension (an attribute often ascribed to the early-Impressionist school) in compositional relief.

  Apart from a subjective historical contextualization, we should return to elaborate upon the importance and distinction owed to the artist when in question of colour itself. Rather than more traditional colours, as evident in the annals of Chinese painting, such as infinite greys’, pale blues and natural hues mimetic of those “actual” to subjects of bird, flower, landscape and so forth, Cui Zhizhong impregnates each stroke with a rather electric “brightness” and alternate “opaqueness” which is unfamiliar to orthodox method. The minutiae of the colour field-contained within the stoke itself- empowers the quasi-pointillist effect to surpass the plane with the instance of visual sublimation. The variance in degree and tone within each individual stroke offers scintellant visual creations wherein the objective of uniformity is eradicated. Plane is herein negated, save for the blank geometry of visual silence which acts to disserve an orthodox coherency of visual “fore” and “rear”. The distance, of silence, demarcates schemata wherein the artists’ opts for inter-sectional motif and fragmented colourism AS a leitmotif rather than mannerism. The optical obscurity afforded to the individual works in this minute play of amorphic line containing colour rather than definitional line as evidence of a conjectured composition is important to observe in a correct analysis of the artist’s alternate series.   

  The aforementioned visual “alternate” allows for perspective rather than interpretive results. In deliberation between the sense of what is owed to line and that to colour, the artist enables the viewer to analyze content and subject in an unorthodox manner, revealing neither an illusionist, iconographic nor symbolic “artifice” or visual “ruse” to occur. In this observation, a critical point of demerit may lies in the overtly simple “caricatural”quality of the insects figures or the emblazoned feline in semi-figurative depiction attest to a faiblesse of the artist: we might objectively state that while their “intrusion” is welcome, greater attention might have been given in the actual quality of the rendering of their subject. The feline, while not in counterpoint with motif, appears as a semi-figurative insolence in contrast with the overall series sense of minutiae. The simplistic illustration of the insects appears comic rather than of more profound significance. Yet, for their apparent weakness, the artist’ offers a simulacra of colour and line, and avoids the tendency of visual conformism. (If we speak of colourism belonging to invention rather than mimesis, the artist has achieved this quality and it is deserved of mention). 

  Within the representional, an inferred, or, better said, insinuation occurs where the artist would need qualify attempts to depict the constituent “real” in either a philosophical position or adhere to a field of enquiry in artistic language. In contrast, or, in extremis, the non-representational or imaginative faculty of an individual artist in a post-Modernist discourse might ensue a vocabulary belonging to “absence” or “vacuity”: non-stance, non-sense. I believe we could embrace the works of Cui Zhizhong as ascribing to an extemporal deliberation with “truth”, and this trait- perhaps alone- may recall traditional thought belonging to the Orient (in a broad definition) and an imaginative rather than interpretive dimension at the time of the works instigation. Hence, an expressionistic vein appears as being valid in an examination of the artists’ visual perspective. What is depicted is by force of colour, and the segmentation of impregnated line dissolves the planar aspects. We are left with an indelible expression of movement rather than stasis, and a bizarre rupture with the precepts of visually coherent or unified cognitive factors. This is an unsettling innovation: the artist achieves what in literature might be entitled, “Deconstruction of Syntax” as the minute movements of the brush and visual dynamic are at the fore of his language, rather than a convoluted play between divisional composition or planar substrata. In an unequivocal attention to re-invention of modality (colour/line) Cui Zhizhong emerges to contest orthodox interpretation. 

  In closing, this mature painter remains highly prolific. The dense layering, linear “segment” infused with colour, “radical shift” of the planar create for an exemplary visual language which, while not entirely unique to the artist, surpasses the majority of less genuine explorations by those whom have pursued equal experiments in colourism yet whom yet owe to the archives of “pedagogy” rather than innovation. The sharp “electricism” acts as a compositional trait, the vein of Expressionism a sublimated “truth” which weaves erratic, incandescent and optically subversive fields. Without entitlement, the artist pursues his visual enquiry into the imaginative rather than representational. Faults in the path exist, yet the path itself is the objective end, and the end, the beginning. The convergence of synthesis of brush/colour/line assure for an aesthetic/philosophical incandescence beyond the extemporal moment.

R A Suri 

08/30/2013      Beijing Shangyuan art museum

R. A. Suri · 《收藏欲望》全文

陈平、李龙飞（译）

 画家崔治中是一名多产的艺术家，其众多作品别具一格无不展现出其在艺术上追求创新的风格。他的油画作品用色大胆鲜明，构图独到极富特色，看似规整却流露出别于传统的技法。其轻快颤抖的笔触下色彩如同被透明般的涂抹又不乏一道轻微的墨痕挑明层次，这种“点彩派“主义风格的广泛运用，使得人们在视觉上有种几乎触电般的感觉。整观其作品，画布中有些部分几乎被单调空洞的几何图形充斥，看似无序混乱毫无稳感的搭配实则透出强烈的对比感，画家本身似乎将空间与错觉玩弄于笔刷之下。

崔治中有些作品中保留了一些具象元素，但狭义上讲也可归之为抽象表现主义风格。其画面色彩渲染饱和，在减少光感的同时兼顾了作品内在的空间维度，实现了类抽象表现主义的写意。这种衍生技法，其独特之处在于将所表现的具象更接近于客观形象而又在形象轮廓线条之外，并非颜色与客观形象的主观叠加；同时非特定性的技法，画家本身也在使颜色渲染更自然的靠近抽象主义风格；此外，画家也在借色彩的抽象表现，于无意与蓄意中实现新的艺术内涵。

崔治中的大部分作品都为中等尺寸，但相较于其它刻意的小幅度作品这些或许也能称之为偶然性的大创作，其笔触下强烈的线性点彩效果在每幅作品中都有展现。画家自身在用色上倾向将紫、兰、绿这些颜色之间进行生动形象地融合过渡，墨黑依然被选作在填充色中挑明层次的线条颜色，猫的作品系列也不例外。这一系列作品中，黑猫从复杂的色彩和写意的笔法中隐现出来，这种看似失真变形但又流畅的表现主义布局构图无不增强了画作的视觉效果。这里留白的出现不再只是画家在构图上的刻意安排，而是在对画中主要具象进行突出表现。作品中具像的选择并不仅限于猫，这种具像与留白在色彩上的相辉映正神奇般形成了和谐的抽象色域。

艺术家创作的整体纹路，在色彩主义辩证上可谓是最简明的解释说明了。紧随着印象派主义发展而来的野兽派主义在构图上同样强调色彩和线条的技法，到后来几乎形成了其核心要素，再后来这一艺术理论更得到了德国表现主义和欧美抽象表现主义流派艺术家的一致认可和好评。但如果忽略东方绘画在线条应用与具象的选择上对西方早期印象派发展的影响（这一创作风格在当时受到学院派的强烈批评），将会产生一种错误的导论。不同于西方艺术创作在延续文艺复兴以来通过对空间理解来实现视觉再现的是，东方艺术创作对“真实”的理解是基于自然写意的哲学背景，而直到西方印象派出现前的一段时期，东方的这种艺术理念才开始在西方艺术创作中有所展露。很多学者都忽视了东方艺术写意对21世纪前绘画创作的影响与推进，实际这种影响是具有巨大而非是可以轻易忽略的。鉴于此，作为当代中国艺术家的催自中，一直是沿着东方的哲学理念在进行创作，并不会有回归传统问题的存在。

大多数的野兽派画家都采用强烈的色彩效果表达情感来实现对人们视觉上的冲击；抽象派主义则尽量削弱具象的客观形态，透过形状和色彩以主观的表现方式来展现“真实”。上个世纪西方的这种解构创作的出现，尽管着重点各有所侧重，但在技法上更侧重对自然的解读。从某种意义上说，法则被破坏了，但这种“破坏”将各种艺术思潮推入了由后文艺复兴思想主导的时代。笔者在此之所以提及野兽派主义和抽象派主义，是因为觉察到崔治中的画作既不拘泥于表象的再现主义，又不受限于抽象派主义的视觉表现。其作品在抽象表现形式上又不乏象征主义。乍看其作品，似乎是散乱无章充斥着如同树叶一般的点彩和枝桠一般的线条 ，微看之其线条实则非常贴近对主体进行细微刻画，自然形成画面中的视觉元素。加之画家本身又富有创造性的刻意留白使得整副画作中的元素更加的彰显出相互村托的统一感。

崔治中作品多为横向，但每副作品在色彩渲染上又各具独立的特色。画家自身极富创造性的用笔，着色，布局，构图，使得画面的呈现的效果不同于前述的两个西方流派的风格。这展现出了其在视觉语言和构图内上的独到的探索。

抛开对艺术史的解析，我们还是进一歩探寻艺术家自身在色彩应用上的独到之处。不同于传统国画在用色技法，如墨色，浅蓝和花鸟山水固有色彩选择，画家崔治中采用快如闪电点颤得当自如的笔触以及独到的色彩渲染技法，使得每一笔线条都具纹理，点彩效果亦是在视觉范围内冲破了色彩本身的固性，这开拓了其个人在创作领域的新画法。从笔触的丰富性和色彩强弱的多样性来看，很大程度上消弱了技法上的套路化，在视觉上体现出了强烈的创造力。与传统国画前后景对比关系不同的是，崔治中画家刻意的留白所形成的静谧意境使得其画作的整体效果统一协调。这种色彩与无声空间的有机交融构成的画面主旋律并非一种程式化手法而能形成的。从线条上看，在视觉上形成融合是对画家作品较为精准鉴赏，单个线条并非仅为构图而作，需要通过色彩的渲染来呈现。

如上所述的视觉“替换”产生是视觉效果而并非说明，画家在作品中通过线条与色彩的有机融合在某种程度上说如同演双簧，能让观赏者解读到主题和内涵，此不同于常见的通过构造几何图形，符号化元素，象征性图案或者说采用视觉策略来传达。在解读中，有个关键的疑问是画作中过于卡通化的昆虫和隐藏在抽象的猫中的字样是否为画家有意为之。尽管说这些形象足够的有趣，但客观说来我们是不是太注意这些细节成分。猫的形象与主题格调相协调，对具象的刻画彰显亮点，卡通式的昆亦能表现深刻的内涵，然而这些恰恰是不重要的，重要的是画家传达了色彩与线条之外的内容从而避免了形式美嫌疑（如果色彩主义能视为一种流派的话，那画家这种超脱于流派的做法是值得肯定的）。就艺术再现而言，作品的好坏与否，在于画家是否能通过“真实”来实现象征，解开哲学思想的束缚，或者说打开艺术语言上的羁绊。相反的是另一种极端，在现代艺术思潮下，非再现或象征性的一些艺术家更愿意采用本身苍白亦可以说是空洞的艺术语言来进行画作，这是没有意义的。我相信我们是可以敞开心扉接纳崔治中的画作的，因为这些画作来自与东方传统思想下但又具典型的“真实”创作。
       说在最后的话。崔治中是一位老道而又多产的艺术家。其画作中色彩层次丰富，线条起伏多致，色彩与线条之间有机交错。这一特色虽不为他所独有，但相较于其他众多模仿色彩应用的艺术家，崔治中妙在创造。他那如同闪电般尖锐的构图的特色如同表现主义的血液，激情澎湃，又富有生命力。＂真实＂的精神必将是光彩辉煌的。不为名利，艺术家本身就致力于艺术创造，而非复制再现。艺术家也非完人，艺术探索的道路上难免有疏误，探索道路上的每一次驻足，本身是终点也是始点。正是艺术家在笔法、色彩、线条世界中孜孜不倦的探寻才造就了美学和哲学上的闪亮篇章。

 2013•8•30于北京－上苑艺术馆

查看16596次