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在绘画的母题意义和形而上意味被充分淡化了的语言型作品中,有两种艺术态度映射出现实生活中的两种性格类型。第一种在画面上执拗地追求某种预定效果,可以说是以目的对手段的不王钰锋近照断否定与矫正为已任。第二种在绘制中左右逢源地随遇而安,使手段对目的的解构或替代成为趣味之源。前者我们姑且可称之为“执拗型”。后者则可称之为“聪明型”。这种差别仅从画面效果上往往是看不出来的,它更多地凸现于对画家心路轨迹的历时性追踪之中。
Among the linguistic works whose motif meaning and metaphysical meaning are fully diluted, there are two kinds of artistic attitudes that map out two types of personality in real life. The first kind of stubborn pursuit of a predetermined effect on the screen, it can be said that the purpose of the means of non-Wang Yutun recent photo denial and correction as any. The second kind in the drawing met both ways, so that the means of deconstruction or replacement of the purpose of the source of fun. The former we can call it “stubborn type”. The latter can be called “smart.” This difference is often not apparent from the picture effect, it highlights more in the artist’s track of the track of time tracking.