“心迹——邵岩水墨艺术展”于2012年4月21日在北京今日美术馆展出。研讨会就邵岩作品从形式、形态以及精神等层面展开了讨论。邵岩的书法从少字书慢慢走向了抽象以及其他一些新的变化,他是用这些东西来指涉当下社会的形式和社会上发生的事件和问题,他的作品大致可以分为三个阶段:在1985—1995年,这十年间对少字书进行了研究,挑战的是日本现代书法。第二个十年是多字书的研究,就是某句诗词或者草书的一行,重复一种形式感与表现一种气势。第三个十年的代表作是2011年完成的“人”字,是邵岩自己认为最适合他的岩,具有山、石、海的元素。在现代主义缺失的情况下,传统的标准对于邵岩作品的批判已经失效,我们要从另外一个新角度来看了。无论是他的自然、玄奥、阴柔还是虚静,行为过程这一部分对于邵岩本人来说,可能更有意义。无论是取消对具体汉字的书写还是取消了毛笔的运用或是加大了对水的运用,这些实验使他从现代书法跨越到现代水墨的一种探索。 “Heart - Shao Yan Ink Art Exhibition ” on April 21, 2012 in Beijing Today Art Museum. The seminar discussed the work of Shao Yan from the aspects of form, form and spirit. Shao Yan’s calligraphy gradually moved from absurd to abstract and other new changes. He used these things to refer to the current social forms and social events and problems. His works can be roughly divided into three Stage: During the decade of 1985-1995, a study of the booklet was conducted, challenging the Japanese calligraphy. The second decade is a multi-letter study, which is a line of poetry or cursive writing that repeats a sense of formality and performance. The third decade’s masterpiece, completed in 2011, is the rock that Shao Yan himself considered to be the most suitable for him, with mountains, rocks and sea elements. In the absence of modernism, the critique of Shao Yan’s works by the traditional standards has lapsed, and we will look at it from a new perspective. Whether it is his nature, mysterious, feminine or hypocritical, this part of the behavioral process may be more meaningful to Shao Yan himself. Whether it is to cancel the writing of specific Chinese characters or cancel the use of brush or increase the use of water, these experiments make him an exploration from modern calligraphy to modern ink.