雕塑模拟现实是不同于绘画的,绘画的幻象最终预示着欺骗,因而情形令人沮丧,而雕塑在使它模拟的对象具体化方面却有着现实的可能性,虽然那些被模拟的对象有许多是幻想物。这种具体化的容量使雕塑具有一种特殊力量,尤其是人物雕塑以不可思议的方式产生直接的同肉体和真实生命的接近,这是绘画难以企及的。 汉森的作品同古老的、强有力的传统血脉相传,这不仅在于其作为原始偶像模拟物久远的现实回响,更在于其明确地、有意识地在悠久的西方艺术传统中复兴了现实主义,并走向极端。尤其在雕塑中,这些超级现实主义的情结已经不仅是由于着迷于模拟可见世界的热情所使然,而是受赋予这些栩栩如生的生命以各种思想的欲望所驱动,这些思想,过去一直是受到抑制而又骚动不已的。 中世纪为临终或死去的人制作的面膜,文艺复兴时期的肖像和等人大的墓葬雕像,或者西班牙的巴洛克殉难圣徒和哭泣的圣母,总之,这一系列最为强烈地引起幻觉的现实主义作品,不仅仅在于其重申了视觉映象,它还受到极端的恐惧和希望的触动。这些作品证实了这样一种悖论:对生命最敏锐 The reality of sculpture simulation is different from that of painting, and the illusion of painting is ultimately indicative of deception, and the situation is frustrating, whereas the sculpture has a realistic possibility of materializing the object it mimics, though many of the objects being simulated are Fantasy thing. This specific capacity makes the sculpture have a special force, especially in the incredible way people sculptures produce immediate physical and real life close, which is difficult to match the painting. Hansen’s work is an ancient and powerful tradition, not only because of its long-standing realistic response to the original idol simulant, but also because it explicitly and consciously rejuvenated realism in the long tradition of Western art and To the extreme. Especially in sculpture, these surrealist sentiments have been driven not only by a passion imbued with the simulations of the visible world, but by the desires that give lifelike lives to various ideas that had been repressed And endless commotion. Masks made for dying or dead people in the Middle Ages, portraits of Renaissance and tombs of great human kind, or the Baroque martyrdom of saints and the weeping Virgin of Spain. In short, this series of most illusive realist works, Not only is it reaffirming the visual image, it is also touched by extreme fear and hope. These works confirm the paradox: the most sensitive to life