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空间,作为肉身休憩之处,使得日夜游离的魂魄得以萦绕相对。楼宇之于人,如飞鸟落足的枝丫,有的会遮荫,有的会风动,有的与雨游嬉,总有几分相映的趣味在其中。房舍与人,树枝与鸟,是一种聚合离散不断进行的互动关系。随着光线幻化,随着气候变换,随着人的意志,鸟的意向,而日以继夜展示着各种样态的面貌。灵魂与人,肉身与寓所,看似一家,却未必相契。于是,人心常常失落,神魂无法与肉身时刻相守。不安在悸动时,心慌意乱,思绪颠倒,甚至惊慌失措,茫茫然不知所云。1962年出生的蔡广斌,出身于哺育新一代国画家的摇篮:浙江美术学院(现中国美术学院),目前是上海中国画院的画师,也是上海理工大学艺术学院的教授,应该属于中国现代水墨茁壮的一代。蔡广斌的学习背景,使他偏重于水墨的媒材,这是他在材
Space, as a place to rest in the flesh, so that the spirit of day and night free to haunt relative. Buildings in people, such as birds falling foot sticks, some shade, and some will move, and some travel with the rain, there is always some interest in which the opposite. Houses and people, branches and birds, are an aggregation of discrete ongoing interactions. With the illusion of light, with the climate change, with the will of the people, the bird’s intentions, and day and night show all kinds of appearance. Soul and people, flesh and dwelling, seemingly one, but not necessarily deed. As a result, people often lose heart, soul can not live with the flesh moment. Unrest in the throbbing, palpitation, thoughts reversed, or even panic, the vast unknown. Cai Guangbin, born in 1962, came from the cradle of nurturing a new generation of Chinese painters: Zhejiang Academy of Fine Arts (now China Academy of Art), currently a painter at Shanghai Chinese Painting Academy and a professor at Shanghai University of Technology, should belong to the modern Chinese ink generation. Cai Guangbin’s learning background, so he focused on the ink media, this is his material