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林海容
1975年生于黑龙江1999年毕业于河南师范大学美术系2006年毕业于四川美术学院获硕士学位现工作生活于重庆、北京 个展2012 漫慢歌-林海容2012油画展,龙门雅集,上海2008 四季人生-林海容个展,昇艺术空间,上海2008 时光碎片-林海容作品展,今日中国,布鲁塞尔2007 林海容个展,昇艺术空间,上海2006 闲看庭前花开落,林海容作品展,今日中国,布鲁塞尔2006 林海容作品展,艺...[全部]
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漫慢歌
作者: 黄小燕 上传时间: 2012/6/12 来源: 本站 浏览 2185 次 评论 0 条

  在二十一世纪的开始第一个十年,彷佛人类进入一种集体疲倦的状态:我们集体经历了恐怖组织攻击美国世贸双子星大楼的九一一事件;我们也亲眼看见南亚海啸排山倒海的自然反扑摧毁了多少了闲散安逸的渡假梦;当然战争或是点状的零星攻击事件、甚至刚刚发生过的日本福岛事件、全世界的经济恐慌、欧洲危机,甚或维基档案的解密。致使我们累了,人类似乎说好了似的,将心灵躲进一个自己圈起来的安静乐土。

 
  第一眼看见林海容的作品,就像是看见了整个世纪末的集体记忆之反刍,从欧洲到亚洲的艺术家好像集结了某种密语或是默契,纷纷在自己的画布上圈出一亩良田,种植着可以滋润自己的养份,那些美好的童年吟唱、曾经被温柔对待的稚气年代、青春期窝在角落沉溺在书本中对于文字或是诗集的感动,甚至少年无私且纯真的容颜。因此,亚洲东洋有「超扁平」superflat 运动,欧美也有嬉皮年代出生的婴儿现今已经站在当代艺术舞台的艺术家,他们所创作的具有复古以及避世的诸多作品。因此kidult 这个在1985年在英国报纸上出现的字眼,也逐渐使用在世纪初的艺术作品风格里。

 
  林海容的作品让人好奇的部份尚有「扮相」,稚气孩童的发型通常是随性而且简单的。孩子的圆脸配上辫子或刘海,而成人却依然保持一张稚气的脸,可是发型多了波浪与装饰。那是进入成人世界的矫揉造型,是世俗对于美与成熟符号的认知。这样的扮相通常也加上刻意经营的剧场式空间,这些空间是艺术家在画面上空间经营的功力,林海容的空间依然是幻境:雪地里仅存的远方楼宇、荒园中除了草地别无它物,这些都是空间的经营,这些也都是符号。其中我最欣赏站在撞球台边的姑娘,整个空间里只有撞球台的一个边,墙上没有任何属于这个空间的任何暗示,但是绿色桌台、拿着球杆的女孩叉腰站着,那是一个人的孤独游戏,一个人。另一幅「花地毯」也具有非常强烈的剧场风格,两个女子专注的在有花地毯的房间捆毛线,一个坐沙发上、另一个跪在地毯上。那是一张美丽的花地毯,配上一张舒适的三人座沙发,整个空间再无其它对象,连放毛线团的容器杂物都见不着。这是标准的舞台空间,台上的人拿着流苏鞭子,你便相信了他正骑着一匹马;台上人坐在空间里仅有的一张太师椅上,观众也就默认了这是位富贵人家的老爷。这就是符号暗示的能力,而这种「暗示性」的低限对象所张扬的恰是画中人物的背景与生活环境。而这些生活环境,却刚好符合章回小说或是传言故事里的人物场景。在书中的描绘空间对象通常是用「侧写」,我们阅读的时候仅凭借想象,想象不及之处,就转而感受其「气息」与「氛围」。正好我们有画家,画家凭借着敏锐的感受度与描绘能力,替我们经营了一个场景,提供了一个具体的想象空间,而其实这个空间业属于画家的心灵空间、秘密花园。

 
  画中的人物是非现实的,即使是现实中人也像是扮演着别人。这是画家独有的特权与能力,如同红楼梦里的薛宝钗,我们知道她珠圆玉润、举止端庄。但是,我们依然可以任自己的想象赋予薛宝钗一个形体与样貌。十个人用画笔描绘薛宝钗,便有了十个不一样的气质。这是考验艺术家主观与独特性的关键,也是画家展现自己特质与实力的密码。林海容画了真实的经典名人,也描绘书中叙述的武陵少年,当然也以自己的方式为现代世俗人物造像。这些人无论具体存在与否,这些人都是画家自己,这些人也似乎都成了「被观看的戏子」,他们总具有一个固定的姿态或笑容,他们其实更像是画家自己的姿态或笑容,只是穿上了高领长挂、穿上轻纱绸衣,在画面上穿了戏服演自己。这是绘画特色,否则只要拿起相机任凭「决定的瞬间」 摆布即可,所以当我看了画展主题「漫慢歌」便会心笑了。「漫」是空间,像是逐渐浸润的浓雾,一点一点笼罩拓延;「慢」是时间的计量,缓缓的、悠悠的呈现时间的状态。

 
  林海容的油画作品也具有一种「情调」,那是某种缓慢时光流淌过后的富丽残迹,乍看起来是淡雅素净,或是现在流行的说法「淡定」。但我总是感觉彷佛看到清简背后的繁华梦。这是一种对比隐喻,我们如何明了归隐山林的居士其实也是经历过了繁华世俗之后的选择;或者是所有的淡然总是在强烈浓郁之后的沉淀。否则就不会有人发出「王谢堂前」与「寻常百姓」 家之间的沧桑喟叹。也因此,如果我们反过来观察细微末节之处,或许正可以窥见一花一天堂的境界。阅读与分析作品,时时可以得到意想不到的乐趣,如同在「烹小鲜」之细节,明了了「治大国」 的奥妙。林海容的作品则像是画家给一个一个如同洋娃娃般的脸容穿上衣服,吩咐他们扮演角色,像是遗世独立或是离群索居的小女孩,在自己的世界玩赏自己的王国。前提是先有了遗世独立的「世」,与离群索居的「群」。无论如何都是一种生活态度的选择,这选择确立了一个创作者的风格产生。

 
  无意间阅读了画家林海容曾经提到到底是先有诗还是先有画,于是举了「四月这残酷的月份」,如此果断、不容质疑为例。恰好我也非常喜爱艾略特(T. S. Eliot)的诗集「荒原」(The waste land 1922),特别是第一章「死者的葬礼」。文字描述充满了色彩及影像,庞大的空虚感与悲观正如同一面破碎的镜子,尽量地折射出迷离人间。而林海容的作品一件一件却是完整的表演,人物总是恰如其分的被放置在最醒目的位置。每一张若有所思的小脸蛋上,也像是悠悠然然站在人间上头颦笑着。情绪大的,背景就简单多了。否则就依赖着空间的暗示给予时间或感情的依靠。从小时候玩家家酒洋娃娃开始,我们就已经进入模拟成人世俗的阶段,只是当时不明白。而有朝一日在人群俗世里返身回顾,那些回不去的美好单纯,也只能借着艺术引魂召唤了。

 
A Slow Song
By Huang Xiaoyan

 
  In the first decade of the 21st century, the entire human race has seemingly entered into a state of collective weariness. We’ve endured tragedies such as the 911 terrorist attack that destroyed the World Trade towers, Mother Nature’s wrath that ravaged the holiday paradise of Southeast Asia; wars, the Fukushima nuclear disaster, global economic crisis, European debt crisis and even Wikileaks... one thing after another, the world in turmoil has finally worn us down. What we really need is a momentary calm and secluded haven to isolate our souls from the world’s unrest.

 
  When I first viewed Lin Hairong’s paintings, sentiments of the late-20th century immediately flooded my mind. European and Asian artists reached a tacit understanding of a secret language – they furtilized their own farmland on the canvas from which they could harvest to nourish their faith. They drew beautiful rhymes from the age of innocence - their childhood, filled with sincere and innocent faces of their loved ones; a time when words or poems that they read left an everlasting impression. In Japan it was known as the “Superflat Movement” , while in the west, baby boomers who grew up in the hippie-era created a great number of retro and reclusive themed paintings. Meanwhile, kidult , an innovative word coined by a British newspaper in 1985, emerged as a central element of a growing number of artworks at the beginning of the 21st century.

 
  Another thing that interests me the most in Lin’s paintings is the characters’ appearances, such as children wearing casual yet accessorized outfits, with permed hair, round faces, or girls with pigtails and bangs, and adults with children’s faces... affectionate and pretentious figures represent the beauty and sophistication in social cognition. These figures deliberately create a theatrical setting, demonstrating Lin’s natural talent in characterization and composition. Lin is a visionary and we can see this distinguishing personal imprint in her artworks, such as distant buildings in the snow, or endless fields of grass on empty rolling hills. These scenes have all been carefully created with her unique spatial composition to embody her personal motif. My favorite is the girl standing next to a billiards table. There is hardly any implication of this space on the wall. All we see is a small part of the green table and the girl holding a cue in her hand with one arm on her hip and downcast eyes, playing the game alone, all alone.

 
  “Oriental Floral Rug” is another piece with strong theatrical style. Two girls sitting in a room, wrapping wool into a ball. Other than a comfortable three seater couch and a pretty colorful carpet, there’s basically nothing else in the space, not even a container for the wool ball or other groceries that most realist painters wouldn’t miss. The room is a theatre. If a player appears on the theatre stage with a tassel whip in his hand, the audience would immediately know that he is riding a horse. If he sits in the only armchair in the space, the audience would again assume that he is some aristocratic lord. In a word, all objects on stage are supposed to be suggestive. Relating back to Lin’s painting, to portray the background and living conditions of the characters, the artist tries to use as few objects as possible to create scenes similar to traditional Chinese folklore. In novels, authors usually use “profiling” to depict objects so that that audience have to imagine what’s not written to feel the tinge and tension of every scene. When admiring a painting, we can visually see the particular scene created by the painter. It is a scene of the artist’s secret spiritual garden where he or she is the only authority to decide whether the character is real or just playing someone else in real life. For instance, we all know that Xue Baochai in “Dream of the Red Chamber” is a dignified, elegant, and voluptuous lady with smooth skin according to the author’s description, yet we can still endow her with different features in our imaginations. Just as the old saying: There are a thousand Hamlets in a thousand people’s eyes. There will be a thousand Xue Baochai in a thousand painters’ portraits. This is where the artist’s subjectivity and uniqueness gets tested and presented.

 
  Lin Hairong pays tribute to not only real historic celebrities but also to those classic fictional characters from legends and literatures. More importantly, she  portrays ordinary people of the modern era in her own way. It doesn’t matter whether these people have prototypes or not, because every one of them is a portrait of the artist herself, and everyone is “an actor who is being watched”. They always do the same pose or wear the same smile, because it is the artist’s pose and smile. Sometimes the artist would like to put a high-collared long robe or a light silk dress on herself. Some may ask, why bother to paint and why do we just pick up the camera and simply capture “The Decisive Moment” ? It is because the artist intends to reveal the world by restoring the artistic feature of painting.

  Lin Hairong’s oil painting has a unique quality in that they appear quietly elegant, like the ruins of a magnificent castle flowing through history. In other words, they look calm and trendy. However, I can see the glamourous worldly dream beneath all the simplicity and indifference. This is actually a traditional contrast and metaphor in Chinese artworks, because a hermit choses to live out of the bustling world either because he or she has already sampled the riches and vanities, or because simplicity is subliminal of complexity. That explains why ancient Chinese poet would write verses like “Swallows that skimmed by painted eaves in bygone days, are dipping now among the humble homes doorways”  . A Chinese proverb says: “Ruling a large nation is like cooking a small delicacy.” Similarly, I suppose, if we carefully observe the small details of our lives, we may actually be able to see a world in a grain of sand, and heaven in a wild flower. Reading and interpreting a painting may also bring us unexpected pleasure. As an artist, Lin Hairong puts costumes on these characters with doll faces and directs them to play different roles, like a lonely little girl detached from the world dominates her makebelieve kingdom, given that she does live in a real world no matter how lonely she is. Style is a choice and an approach to life for the artist. Someone once asked Lin Hairong: Which comes first, poem or painting? Lin answered with “April is the cruelest month”, a decisive and unquestionable quote by T. S. Eliot. I myself am a huge fan of Eliot’s “The waste land” (1922), especially the first section, “The Burial of the Dead”. His writing is full of colors and images where overwhelming emptiness and pessimism between the lines refract the bewildering world as real as possible like a broken mirror, while every piece of Lin Hairong’s paintings is a full show in which every character is placed at the most visible position, smiling or frowning as they were looking down at us from a place high above. The stronger the character’s emotion gets, the simpler the background is, since the audience won’t be needing more indications from the space on character’s feelings. We have started to imitate the adult world. We just didn’t realize it until later. Some day when we look back in the crowd, we will find the only way to get back to the innocence we had is through art.

编辑:【travelsky】


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