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阅读当代绘画,可以发现一个有意思的现象:在某种程度上,当代绘画差不多等同于都市绘画。从日益成长的都市中找到问题,并在令人眼花缭乱的都市生活场景中提取画面元素,已成为当代画家创作的不二方式,陈士斌近期的油画作品也可以从这个角度加以观察。但和其他画家不同的是,陈士斌并没有热衷于那些流行题材,如当代人的精神状态与行为、都市景观的变异等,而是反向而行,对都市逝去或隐秘的记忆发生了浓厚的兴趣。在他看来,最能代表都市记忆的便是在都市文明阴影下仍顽强存在的老房子以及散落的田园。幸运的是,大连这座城市恰恰为陈士斌提供了这样的丰厚资源。可以说,大连日据时代的老房子不仅是陈士斌创作的文化记忆和价值取向,也是他画面语言的基本来源。
To read contemporary paintings, you can find an interesting phenomenon: in a way, contemporary painting is almost equivalent to urban painting. Finding problems from the growing metropolis and extracting picture elements in dazzling metropolitan life scenes has become a unique way for contemporary artists to create. Recent paintings by Chen Shibin can also be viewed from this perspective. However, unlike other artists, Chen Shibin is not keen on those popular themes such as contemporary mental state and behavior, urban landscape variations, etc. Instead, he takes the opposite direction and takes a strong part in the memory of the city’s passing or invisibility interest. In his opinion, the most representative of the metropolitan memory is the old house still stubborn in the shadow of urban civilization and scattered pastoral. Fortunately, this city in Dalian just provides such a rich resource for Chen Shibin. It can be said that the old house in Dalian’s Japanese occupation era is not only the cultural memory and value orientation of Chen Shibin’s creation, but also the basic source of his picture language.