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时下当代雕塑的发展呈现一种前所未有的开放状态,材料观念作品层出不穷,在如此多种类的当代艺术形式中,对我们的判断力同样也是一种极大的挑战,由于全球化的语境各类艺术形式的糅杂使得雕塑的边界越来越模糊,对雕塑本体语言的研究显得后劲不足,致使中国的当代雕塑存在一些虚假的繁荣,就我个人而言我认为应该回到雕塑语言本身,对雕塑形体空间的掌握是我们在艺术道路上走的更远的保证,无论是玩材料与观念这就是一个支撑。雕塑语言的表达其本质上就是形体与空间的表达,无论抽象雕塑与具象雕塑,判断其优劣的标准同样也是形体与空间的处理,具象雕塑中的像与不像应该完全被剥离开。
Nowadays the development of contemporary sculptures presents an unprecedented open status and endless works of material concept. In so many kinds of contemporary art forms, it is also a great challenge to our judgment. Due to the various contexts of globalization The blending of artistic forms made the boundary of the sculpture more and more vague and the study of the sculpture’s ontology language seemed insufficient in stamina resulting in some false prosperity in the contemporary Chinese sculpture. For me personally, I think I should return to the sculpture language itself. The mastery of the physical space of the sculpture is a further guarantee for us to walk on the art road. This is a support for playing materials and concepts. The expression of sculpture language is essentially the expression of body and space. No matter abstract sculpture or figurine sculpture, the criterion of judging the pros and cons of the sculpture language is also the handling of form and space. The images and absurdities in figurine sculpture should be completely stripped away.