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从表面上看,2011年屠宏涛的个展名“植物的欲望”起得响亮。它似乎既总结了艺术家之前的绘画主题,又道破其之后几年的工作基调——“欲望”给“植物”贴上了拟人化的标签,混乱而野蛮的杂草呼应了他以往肉欲的人像类创作;而相对于人物,植物形态各异,肆意生长,不易被辨别出表情和轮廓,选择此类形象,作品的绘画性易于影显。以此推断,“植物的欲望”是一封屠宏涛阐明信心的公开信。贯穿在漫长的实践过程中,“图像”和“语言”的戏剧性纠葛一次次地激化,又一次次地缓解。然而,近十年来,伴随着每次调整绘画语言带来的摇摆和阵痛,他固有的空间意识渐渐浮现出来。
On the surface, Tu Hongtao’s solo exhibition title “The Desire of Plants” in 2011 played louder. It seems to summarize both the subject of the artist’s previous painting and the tone of his work for the next few years - “Desire ” to paste the anthropomorphic label for “Plant ”, chaotic and barbarous weeds evoke him In the past, the portraits of the sensual portraits were created. However, compared with the characters and plants, the shapes of the plants varied wildly and were not easy to be distinguished from the facial expressions and contours. Such images were easy to be selected for their ease of painting. To conclude, “The Desire of Plants ” is an open letter of Tu Hongtao’s statement of confidence. Throughout the long process of practice, the dramatic disputes between “image” and “language” intensified again and again. However, in the last decade, with the sway and soreness of adjusting the language of painting each time, his inherent sense of space gradually surfaced.