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多年以来,我以日志和手迹的方式记录下我们正在剥蚀和坍塌的风景。1996年1991年初冬,我从长途车里回望渐渐远去的大雪覆盖的黄土高原,在一片被白色抹去的风景里结束了我的十年纪行。此前不久,我画了《大风景》,它已不再是我1985年以前那些关于文化记忆的黄色土地。自《大风景》开始,由散开再拼合的土地到如教科书般的截面剖析,我用自己的方式观照当下混杂的文化状态,现照人的生存状态和文明走向。我们,当然也包括我们的艺术都生存在世界这片大风景
Over the years, I’ve documented through log and handwriting the landscape we are denuding and collapsing. In the early winter of 1991, in the early winter of 1991, I looked back from the long-distance car to the snow-covered Loess Plateau, and ended my ten years old in a whitewashed landscape. Not long ago, I drew “the Great Landscape,” which is no longer the yellow land of my memory of the cultural memories of 1985. Starting from the “Grand Landscape”, from scattering scattered land to textbook-like cross-section analysis, I used my own way to look at the current mixed state of culture, according to people’s living conditions and the direction of civilization. We, of course, also include the great landscape of our art that lives in the world