1的N次方，表示着N个1相乘之后的乘积，而“乘”是突破了“加”在一维线性上的量变关系，形成了质的突破构建出了二维的平面。在艺术家吴益文看来1是如同时空的奇点，是一切事物的最基本单位，它是世界原始的混沌状态，至简至纯。所以在吴益文的艺术作品中“1”是“点”，它的“加”是“线”，“乘”便是“面”，而无数的点、线、面相结合、膨胀、堆积便构成了我们所处的这个三维世界。它是西方哲学理论中世界是统一的物质的世界，也是中国传统道家“道生一，一生二，二生三，三生万物”大道规律下的世界。在海德格尔《艺术作品的本源》中也认为艺术作品建立了一个世界并制造大地，物便是作品的大地因素，创作是让某物作为一个被生产的东西而出现，作品把物因素置入敞开的领域中加以显现。
本次展览中的作品分为两个系列，分别以超轻粘土和电子元件作为创作材料，这两种材料载体本身都是人类工业文明的产物。取之于自然中的物，是在人类工业生产活动中进行了解构和重构，再解构和再重构后的不断循环过程后，所幸存的物。在《诗人何为》等文中，海德格尔注意到了我们这个由技术所统治的时代，物早已变的畸形，成为可供计算的市场价值。电子元件系列作品中，洞洞板成为作品的载体，艺术家将自己被动地置于材料板面的限制中，运用每一个单独的元件凝聚大量的时间，将其肆意的组合，在色彩上进行了单纯的色域处理，画面给人的第一印像是极其冷静的。但久而观之过后，会发现在理性克制的画面中充斥着艺术家对于自身艺术认知的张狂和不拘一格的叛逆。回顾艺术家之前的作品，他试图不断在理性中寻求无限的扩张，创造属于自己的世界。
超轻粘土最早于2007年诞生于德国，后广泛运用于全球的少儿艺术教育中。由于其广大的市场普及度和轻便易塑的材料特质，使得它被扣上了廉价、低幼、简便的帽子。而艺术家选择这样年轻低廉的材料，充分利用它的材料属性，保持其密封状态，一点点地撕开外包装，风干，再撕开一点，再风干，如此往复。在长达一个月的时间使之完全固化后，再进行上色，一遍一遍的通过时间的介入，使作品呈现出新的不同于材料本身的金属、水泥等材料的质感，使其充满例外的惊喜。正如格林伯格论新雕塑时所说的，新雕塑提供了“物质是无实体的、无重量的，只像一个幻象一样存在”的幻觉一般。而幻觉便是贾德所说的作品需要的最必要的因素“有趣”。超轻粘土所带来的材料本身的轻便和作品所产生的厚重的幻觉之间的冲突，展现出近似童真的有趣。
海德格尔认为“艺术作品远不只是物的因素，它还是某种别的什么。这种别的什么就是使艺术家成其为艺术家的东西”。而在我看来，吴益文的作品中，承载作品的“物”，便是无数的“1”，而“某种别的什么”便是萨特所描述的“各各他上空中那一道黄色的裂痕”，便是艺术家在人生中关于自我艺术追求的那个N次方，它代表了艺术家人生中所有的情绪，也塑造了艺术家自身的存在。
牟 俊
2019.09.09于重庆文理学院
The N power of 1 represents the product after the multiplication of N 1, and "multiplication" breaks through the quantitative relationship of "plus" on one-dimensional linearity, forming a qualitative breakthrough to build a two-dimensional plane. In the artist Wu Yiwen’s view, 1 is a singularity of the same time and space, and it is the most basic unit of everything. It is the primitive chaotic state of the world, and it is simple to pure. Therefore, in Wu Yiwen’s works of art, "1" is "point", its "plus" is "line", and "multiplication" is "plane". Countless points, lines, and planes combine, expand, and accumulate to form the three-dimensional world in which we live. It is a world in which the world is a unified material world in Western philosophical theories, and it is also a world under the laws of the traditional Taoist "one produce two, two produce three, three produce all things". In Heidegger’s "The Origin of Artistic Works," it is also believed that artistic works have established a world and created the earth. The object is the earth factor of the work. Creation is to make something appear as a product. The work puts the material factor into the open field to appear.
The works in this exhibition are divided into two series, which use ultra-light clay and electronic components as creative materials. Both of these materials are themselves products of human industrial civilization. The things taken from nature are the things that survived after the continuous cycle process of understanding and reconstruction, deconstruction and reconstruction in human industrial production activities. In "how poet to do" and other articles, Heidegger noticed that in our era ruled by technology, things have long become deformed and become market values that can be calculated. In the series of electronic components, the cave plate becomes the carrier of the work. The artist passively places himself in the limitation of the material plate surface, uses each individual element to condense a large amount of time, arbitrarily combines it, and carries out a simple color gamut on the color. Processing, The first image of the picture is extremely calm. However, after a long period of time, it will be found that the picture of rational restraint is full of artists ’arrogance and eclectic rebellion of their own artistic cognition. Looking back at the artist’s previous works, he tried to constantly seek unlimited expansion in reason and create his own world.
Ultralight clay was first born in Germany in 2007 and was widely used in children’s art education around the world. Due to its wide market popularity and the material characteristics of lightweight plastic, it has been labeled as cheap, low and simple. The artist chooses such a young and inexpensive material, making full use of its material properties, keeping it sealed, tearing apart the outer packaging bit by bit, drying, tearing a little bit, and drying again, so on. After a period of up to one month to completely solidify it, color it again and again. Through time intervention, the work presents a new texture of metal, cement, and other materials that are different from the material itself, making it full of exceptions. surprise. As Greenberg said about the new sculpture, the new sculpture provides the illusion that "matter is non-physical, weightless, and only exists like an illusion." The illusion is what Judd calls the most necessary "interesting." The conflict between the lightness of the material itself brought about by the ultra-light clay and the heavy illusion produced by the work shows that the approximate innocence is interesting.
Heidegger believes that "artistic works are far more than just things. It is something else. This other thing is what makes an artist an artist. " In my opinion, in Wu Yiwen’s works, the "things" that carry the works are countless "1", and "something else" is what Sartre described as "a yellow crack in the air.", It is the N power of the artist’s pursuit of self-art in life. It represents all the emotions in the artist’s life and also shapes the artist’s own existence.
Mou Jun
2019.09.09 at Chongqing University of Arts and Sciences
