前几年在内蒙古美术馆的展览上,吴日哲的一幅画让我止步,吸引我的倒不是作画的技巧或是什么新的手段,而是他对内心的坦诚及感觉的真实。画面白底黑色,用涂鸦式的黑色线条把蒙古女人服饰的下摆做了多次的修正和涂改,他在不断的修正和重复中,把对与错、冲动与思考、熟悉与陌生感都毫不掩饰的留在了画布上。画面上留下的痕迹是一种现场感,一个正在画室作画的既有错又有修正的真实吴日哲。英国画家弗兰克·奥尔巴赫把一张素描改了四十多遍,直到满意为止。“他昏暗的画室就像一座煤窑,空中弥漫着柳木条的碳粉,素描架是黑的,被长年的碳粉和手上的皮脂打磨得闪着精细的光泽……”他在揉擦的破烂不堪的素描纸上寻找什么呢?按他自己的话是“从最熟悉的事物中不断寻找最陌生的感觉”。在上个世纪三十年代,这位犹太人为躲 A few years ago at the Inner Mongolia Museum of Art’s exhibition, Wu Ri-zhe’s painting stopped me and attracted me not to paint the art or any new means, but his innermost feelings of honesty and feeling true. Black and white on the black screen with graffiti-style black lines to make the hem of the Mongolian women’s clothes many times to make corrections and changes. He constantly correct and repeat the right and wrong, impulsiveness and thinking, familiarity and strangeness Stay on the canvas without covering up. The trace left on the screen is a sense of presence, a true and false reality that is being painted and painted in the studio. British artist Frank Auerbach changed a sketch more than forty times until he was satisfied. “His dark studio is like a coal kiln, filled with willow sticks in the air, the sketch frame is black, polished by long years of toner and sebum on the hand shiny fine luster ... What to look for on rubbed rubbish sketches of paper? In his own words is ”constantly looking for the strangest sensation from the most familiar things." In the 1930s, the Jew was hiding