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【上苑艺评之马赛克】滕亚红“生命之源(根相)”

[2015-10-21 8:28:59]


【上苑艺评之马赛克】滕亚红“生命之源(根相)”

Teng YaHong The Source of Life (Root)


Christopher Pelley 马赛克评(吕墩墩译)


Looking at the paintings in Teng YaHong’s exhibition, one feels transported to some woody bower or dark thicket.  Tree roots struggle to crack open and penetrate rocks.  Branches crisscross.  The view is always towards the earth as if there is fear of tripping over some errant root obstructing the path.  There is a sense of dappled shade.  One notes a kindred spirit with the Pre-Raphaelite Brotherhood in these works.  The P.R.B. were a group of painters who in England of the 1850’s set out to revolutionize painting and return it to a strength and purity that existed before the time of Raphael (1483 - 1520).  They were interested in portraying an erratic nature, often untamed, with a reckless abandon that had been squeezed out of existence by the academic tradition.  Often times they painted out of doors, taking inspiration directly from visual observation, as does YaHong.

看着亚红的画展,一时感觉跑到了那些树阴或阴凉的丛林。树根挣扎着弄破土层、穿透岩石。根系盘根错节。使人关注地面上就好像怕绊倒,因为无处不在的树根阻碍小路。存在一些有斑点的色调。有一点使人想起拉菲尔前派的作品,1850年在英格兰几个艺术家掀起了一场革命,为了寻求更纯、更有表现力的绘画形式,这种绘画在拉斐尔(1483-1520)以前就已经存在。这群艺术家追求一种难以抑制的古怪味道,带着不顾后果的狂热,其实这些东西本来出自于学术传统,本来就存在。当时他们多次到户外去写生,从视觉观察中寻求灵感,亚红现在的做法跟他们一样。


But first looks can sometimes be deceiving.  Teng’s color doesn’t quite jive with the scene.  Where one would believe in greens and browns  to propel this subject matter, there is a preponderance of turquoise blues and reds.  The off key chroma suggests more bowels and entrails than nature trail.  In Number 2 small disassociated branches are tubular and smooth, glistening slightly upon a purplish ground like some left over from an anatomical dissection.  There is a slightly visceral quality to the paint.  Thin layers of color often times dispersed by splashes of paint thinner are overlaid with luscious strokes of pink, turquoise and flecks of white following the contours. The works in this series of paintings become a Rorschach test of the viewers psyche.  Do the small splotches of dispersed paint read as lichens on tree bark, or corpuscles floating in arteries?  

但首先,外表有时是会骗人的。的颜色并不完全是现实的场景。一般人会相信翠绿和褐色来画,而她却用宝石兰和红色。特殊的浓度意味着挖掘出更多内部细节而不是呈现自然色彩。在2号中(本系列的作品只用数字命名)根枝分开呈管状,发出一些光点,底子是微紫色的,景象有点像解剖的内脏。颜色多层覆盖后以调色油喷洒,又加以粉色的看上去很舒服的笔触覆盖。翠绿上有白色的斑驳以及勾线。本系列作品好像是用来作罗夏心理测试。看上去不知是地衣在树皮上,还是血球在动脉里漂浮?

Nature is not whole, here.  The branches end abruptly.  They are not broken as if by wind or storm, but are cut with the precision of a chain saw, their circular terminations projecting into the void.  Number 65 shows us a tree stump, its entwining roots and branches ending short, isolating it on the canvas.  But the turquoise color also suggests an organ surgically removed, awaiting for transplant and oxygenation to turn the blue back to red.

自然不是一切,根枝突然没了。不像是被暴风雨袭击所致,是被精密的自动链锯所锯掉,本身的自然状态没了。作品65号是一个树桩,交缠的根和分枝末端孤立地隔离。但绿松石的颜色也显示像是有一个肢体被切除,等待移植后使皮肤颜色由蓝便红。

Teng subtitled this exhibition “Roots” and that suggests how the works are to be viewed.   We revel in her view of nature, the colors that are more felt than seen, and we give pause to ponder how we treat the roots under our feet.  These paintings have the outward appearance of being part of the western pictorial tradition, but they are distinctly Chinese.  The roots of YaHong’s work are deeply grounded in the history of ink painting where depth is not suggested  by shadows as in the western tradition. Su Shi and Mi Fu, scholars during the Northern Song Dynasty, expressed disdain for techniques that stressed dimension, depth and proportion.  Ideal painting instead should transform feeling and mood into visual data and Teng accomplishes that task.

滕副标题为这次展览“根”,表明作品是如何被视觉观赏的。我们陶醉在她的自然里,比看到的颜色,更觉 得我们要暂停思考我们如何对待我们脚下的根源。

这些画有向外外观的西方绘画传统的一部分,但它们明显是中国的。亚红的根的作品深深植根于水墨画的 历史但这种深度影子不建议在西方的传统上。苏轼和米芾,在北宋学者,对技术,强调表示蔑视维度,深度和 比例。理想的绘画而不是应该改变感觉和情绪可视化数据,完成这一任务。


Teng YaHong’s view of nature, like her color sense, is deeply personal.  She shares  her view of the world around us which even though grossly abused, still pulsates with vital energy.  For all the cut and wounds and hurt, there appears in  Number 30, one small lone branch of new foliage giving us hope for the future.

亚红自然的观点,喜欢她的颜色感觉,深入的个人喜欢她的颜色感觉,。她的分享对我们周围的世界,即使 严重虐待,仍然闪烁着至关重要能量。出现在30号的作品剪切和创伤和伤害,有一个小的分支的新叶子给了 我们对未来的希望。


Christopher Pelley

Beijing 2015