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近20年,李尤松压笔尖于画布之上,孤独、平和地穿越于不同“空间”中,这既有他自身成长的历史空间;也包括从清末民初到文革的历史空间;还表示本体意义上、绘画语言层面的空间。然而,在空间背后,李尤松敏锐地找到了他的结构,继而又进入另一种反结构。在他所探询的“结构”中,除了绘画形式因素外,尤有心灵、精神层面关怀的因素。如果把上述三种空间及其背后诸因泰结合起来进行比较、分析,我们将会发现,其关系千丝万缕,静深悠长。
In the past 20 years, Li You-song pressed his pen tip over the canvas and traveled alone and peacefully in different spaces, both in the historical space of his own growth and in the historical space from the late Qing Dynasty and the early Republic to the Cultural Revolution. Ontology, painting language level space. However, behind the space, Li You Song keenly found his structure, and then entered another type of anti-structure. In his inquiry “structure”, in addition to painting form factors, especially the spiritual and spiritual factors. If we compare these three kinds of space with those behind the Thai, we will find that the relationship between them is inextricably linked and deep.