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两年前我曾撰小文指出:“马志明选择了一条借助于再现大自然风化的痕迹来反思物质化文明之限制性的道路。”在当时的画作中,西北窑洞的形象依稀可见,它们被摹仿黄土高原沙漠化和风化效果的油画颜料和塑形膏反复涂抹,原本具像的窑洞变得模糊和抽象起来,而色彩和笔触还有肌理越来越成为独立的视觉语言元素。时隔两年,马志明又有了新的一批作品,他起名为《往事遗韵》,整体面貌与以前相比有了不小的变化,其中透露出的意趣也随之发生了明显的差异。
Two years ago, when I wrote Xiaowen, I pointed out: “Ma Zhiming chose a restrictive path to reflect the materialized civilization by means of traces of the weathered nature.” “In the paintings of the time, the image of the northwestern cave was faintly visible, They are repeatedly applied by oil paints and plasters that imitate the desertification and weathering effects of the Loess Plateau. The original cave-like cave becomes obscured and abstracted, and colors and strokes and texture become more and more independent visual language elements. After a lapse of two years, Ma Zhiming has a new batch of works, which he named as ”legacy rhyme", the overall picture has been compared with the previous no small change, which revealed the interest also will be obvious difference.