首页 | 简介 | 上苑艺考 | 新闻 | 国际创作计划 | 驻馆艺术家 | 文学 | 艺术批评 | 书讯 | 艺术家专栏 | 艺术品市场 | 上苑人物 | 建筑艺术
标题 作者 内容
新闻 > 专题讨论

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


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

CuratorR. A. Suri(加拿大)、陈平(Chen Pin澳大利亚)

学术主执Academic Executive:程小蓓 Cheng Xiaobei


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

展览开幕Opening201398日下午四点 8/9 4pm


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

联系电话Phone010-60635299  60635757



R. A. Suri(文)












  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







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。







上苑四贤-蓝春雷、向强、张志刚、肖毓芳 《净行》抽象艺术作品展14日开幕
上苑驻馆波兰艺术家Urszula Wilk个展《四个房间和蓝色奏鸣曲》 7月20 - 2013年9月
岛 子&艾蕾尔《精神性艺术与当代艺术处境》
北京·上苑艺术馆 “国际创作计划”(艺术驻留) 常年接受申请