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初识熊文韵是在她东京的个展上,人不大作品极大,不觉一惊,看了作品,觉得此人不是等闲之辈,想法与制作都好,境界上也是沉沉的,便留了印象,因同在东京,之后就有了来往。 仿佛历史本身就是负值的环境,熊文韵的艺术精神更多地是对负值环境的思考与观照的深度感。深度感是一种空间性的垂直表意,就象作品《黑色周期》是从连绵不断中体味压抑的深度,《生死之神》是从死亡中体味悲情的深度,《情爱》是从一式的几何形中体验丧失的深度。对这种表意赋于由直线带来的力度感则具有了另一种方向,相对于深度感是向内的,内向型的,力度感则是向外的,扩张型的方向,走出纯思索的垂直性空间,走向平面的时间流程,力度是展现深度的精神基础。
First met Xiong Wenyun solo exhibition in Tokyo, she did not work great, not surprised, looked at the work, I feel that this person is not leisurely generation, ideas and production are good, the state is also heavy, so stay Impression, because in Tokyo, then have a deal. As if history itself was a negative environment, Xiong Wenyun’s artistic spirit is more of a sense of depth about contemplating and contemplating negative environments. Depth of feeling is a kind of vertical representation of space, just as the “black cycle” of work is the depth of depressing from endlessness. “God of life and death” is the depth of compassion for death from death. “Love and love” The depth of experience loss. This sense is given by the sense of force brought by a straight line has another direction, relative to the sense of depth is inward, introverted, sense of force is outward, expansion-oriented, out of pure thought The vertical space, to the plane of the time process, the intensity is to show the depth of the spiritual basis.