谢克的气场
顾振清

谢克是一位港客，生于香港，如今客居于北京。以前他还曾客居新加坡十多年，在那创办了一家有名的画廊“客艺廊”。谢克是一位脱胎于设计师的艺术家，对装饰性的绘画语言和雕塑技艺颇有造诣。他有强悍的动手能力和丰富细腻的手工经验，更有文化反思的习惯。早年，谢克在中国大陆求学期间，为考察中国各地的民俗艺术精华，曾走遍神州。他怀着一种当代知识分子的文化良心、责任感和忧患意识，至人所未至，见人所未见，深入探访璀璨、奇崛的中国民间民俗建筑遗存和装饰艺术。由此，谢克在自身文化传统的不断认同中，领略到一种超越时空阈限的、厚积薄发的中国艺术精神。

谢克频繁往来中港台两岸三地，并不断前往新加波等东南亚华人文化重镇。每每从老启德机场起降的他，凭窗眺望鳞次栉比的高楼大厦，不由得在内心反复品味、咀嚼一个词：国际化。历史和地缘的特殊性，使香港的语境极具跨文化的宏观色彩。两岸的政治、经济纷争或变局也时时拨弄着香港人敏感而紧绷的神经。因此，谢克身处的文化现实，使他拥有了一种非同寻常的潜质。他可以自我批判，但格局却小不了；他可以自我言说，但其艺术语境却只能兼容并包、多元并存。谢克的气场。从来就是一种跨越不同社会体制、不同文化模式的国际气场。

谢克的绘画和雕塑深得一种设计师、建筑师的语言气度。单纯、简约的画面图像往往具有层次分明的寓意和象征主义色彩。他善于在传统语汇和技艺的细节之处作大文章。画面中任何一处形式、技法的主观处理及其微妙变化，都蕴涵着谢克刻意的、丝丝入扣的谋篇布局和谨严的思考。谢克在绘画中强调了插图化的特质，试图颠覆、扬弃的是学院派重技艺而轻精神内容的一种陈年惯性。站在当代艺术的思辨立场上，他深知油画、雕塑技艺的日臻娴熟和精益求精，不再取决于技艺本身，而是取决于这种技艺能否有效表达并提升人的精神。谢克在作品微言大义、暗藏玄机，其用心就是提示观众去关注绘画、雕塑所表达的观念。谢克的气场，就是借重观念的视觉转换来呈现的一种现实批判和文化反思的气场，就是一种艺术家在不断的自我否定中追求新生的当代精神的气场。

The Atmosphere of Xie Ke
By: Gu Zhenqing

Xie Ke, a Hongkongese who used to run the sounding Ke Gallery for over ten years in Singapore, is now living in Beijing. Due to the previous role as an graphic designer, Xie Ke is quite good at exploring the contexts of ornamental paintings and sculptural skills. Consequently, he does not merely have mighty ability of practice and exquisite handcraft experience, but also the re-thinking habit towards culture.

Early during the study in mainland, China, Xie Ke went around various places to investigate folk-custom of China. He is one of the clerisy who had cultural conscience、responsibility and suffering consciousness of the development of China; meanwhile, he tried to visit what others didn’t go and see what others didn’t see in order to explore peculiar Chinese folk architecture and ornamental art. Accordingly, Xie Ke has experienced accumulate steadily Chinese art spirit, which is beyond the limit of time, with the recognition of self-culture custom.

Xie Ke does not only travel regularly among mainland, Hong Kong and Taiwan, but also visits other cultural areas in Southeast Asia such as Singapore. Every time when he departs and leaves from Kai Tak Airport, watching the skyscrapers over the window, he is experiencing the term “Internationalization”.

Resulting from the particularity of the history and terrain, Hong Kong is filled with macro atmosphere in terms of intercultural contexts. The inter-coastal politics、economic conflicts has been always tensed Hongkongese. Therefore, the cultural situation that Xie Ke was involved in equipped him extraordinary potential.

Xie Ke criticizes himself macroscopically and his lingual contexts are diverse and compatible.
Accordingly, the atmosphere of Xie Ke represents the international compatibility of inter-social-system and various cultural structure.

The paintings and sculptures of Xie Ke presents the grace in terms of an graphic designer、architect. The simple construction of his paintings explores the moral and symbolism. Meanwhile, he is good at switching between traditional contexts and elaborate skills. Every tiny little details, such as subjective formation and subtle alternations in Xie’s paintings can reveal his precise thinking; and the graphic-style stressed of Xie’s artworks is toppling over the tradition of academism’s focusing skills rather than spiritual thinkings. 

In the perspective of contemporary art, Xie Ke understands that the dedication and elaboration of paintings and sculptures rely on whether the skills can express spirits, rather than merely skills.

The artworks of Xie Ke are meaningful, the purpose is to remind the public of focusing the concept of paintings and sculptures. Therefore, atmosphere of Xie Ke is expressed by the visual alternation to present critical reality and cultural re-thinking, which is the compatibility of an artist in terms of seeking for contemporary innovate spirit in self-criticizing.