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王远铮在画面上,可以直接地画一堆肉、一只香蕉、一条蛇等等,不一而蹴,据我所知那是他以往心绪的象征性表现,就像他日常情绪与痛楚的片断宣泄。虽然这些图像有着隐喻的元素,但已没有了传统人文的指涉,与以往宏大的叙事针对性也发生了偏离,而是与自我存在与体验直接相连的明喻。他似乎想到哪里就画到哪里,想怎么拼合就怎么挪用。图像之间也完全没有什么逻辑关系,就是一种内心较劲儿的拧巴,更像是一个现代社会中人的生存境遇的寓言,而悬疑的语境只是包在外面的一层骨肉皮。这倒显示了他直接的现时性表达,而且仅是在他目光所及的范围,荒诞和超验的意味却油然而生。
On the picture, Wang Yuanzheng can directly draw a bunch of meat, a banana, a snake, etc., and as far as I know, it is a symbolic expression of his past mood, just like the pieces of his daily emotions and pains Catharsis. Although these images have metaphorical elements, they have no reference to traditional humanities, deviate from the grand narrative pertinence of the past, and are directly related to self-existence and experience. He seems to think where to draw, how to put together how to embezzle. There is also absolutely no logical relationship between the images, that is, a twisted inner palatal, more like an allegory of human existence in modern society, while the suspense’s context is just a layer of skin covered on the outside. This shows his immediate present expression, but only in his gaze to the scope of absurd and transcendental meaning but spontaneously arises.