杨光伟的这批新作有一个基本的特点,那就是让材料成为创作的起点。不管是画面的形式、修辞,还是意象化的表达,以及作品流溢出的审美意识,都与材料的媒介物性表达息息相关。事实上,材料的转换与嫁接,对于杨光伟来说,仍然得益于创作观念的转变。追溯西方绘画的发展,不难发现,文艺复兴所形成的方法与规则是在二维的平面上对外部世界进行真实的“再现”。这一传统绵延了500多年,不仅建构了西方古典绘画的法则与范式,而且主宰了几个世纪的审美与趣味。但是,从19世纪中期的现代绘画开始,艺术家就将材料自身 Yang Guangwei these new work has a basic characteristic, that is to make the material as the starting point for creation. Whether in the form of pictures, rhetoric or imaginative expression, as well as the overflow of works aesthetic sense, are closely related to the material’s physical expression. In fact, the material conversion and grafting, for Yang Guangwei, still benefit from the change of creative concept. Tracing the development of Western painting, it is not hard to find that the methods and rules formed by the Renaissance are true “reappearances” of the external world in a two-dimensional plane. This tradition stretches for more than 500 years and has not only constructed the rules and paradigms of Western classical painting, but also dominated the aesthetic and interest of centuries. However, from the beginning of modern painting in the mid-19th century, artists will make their own materials