“自在的玩物”——于幸泽近作解读

王璜生

“自在”，在哲学的范畴里是关于“存在”的本质状态，是“在”之所以“在”的基点；而在人的现实生活中，“自在”则是一种极高的行为和精神境界，它使人之所以为“人”，艺术家之所以为“艺术家”，生活之所以为“生活”。看于幸泽的近作，我似乎对“自在”有着进一步的不同层面和不同向度的体验和解读。

从生活的角度讲，记忆也许是最关乎人的生存本质的，人逃脱不了生命的记忆，这几乎是从婴孩时期伊始的，而尤其是像于幸泽这样的“游子”，曾经远离故土，到一个陌生的地方----德国求学、生活多年，这对于他来说，早年的记忆成为他得以“自在”生活的基础，他以之作为对自我及潜能的一种认知，并不加掩饰地流露出对母体文化的依恋。因此，从在德国时对气泡的精致描画，到后来回国后对充气玩具的钟情，可见他对童年“玩物”的一种迷恋，这种迷恋是通过精致细腻的写实过程来实现的，在这样的过程中，他找到了自己的过去和现在，找到了一种依恋和认知，也可以说以此来获得他的生活的“自在”。

而从艺术创作和思考的角度看，他试图构建一种中国文化的感性表达和德国文化的理性认知的融合，通过材料的自然性和绘画的自然状态，及写实技术与透明画布的高度理性的叠加，从而产生新的视觉形式，以表达一种静态状态下带有生理与心理隐蔽的情绪。因此，“玩物”成为了这样的一种载体和象征，作为极端感性的“玩”和 为“玩”精美制造出来的“物”，这本身就构成了于幸泽艺术一个主要的矛盾结合点和创作出发点。“玩物”本身所隐含的生命、心理和文化的内容，更在于幸泽的艺术表达过程中一层层地呈现、幻化出来，甚至是不断地演绎创造出新的形态和可能性。

这也许就是于幸泽“玩”“物”的心态和理想状态，“玩”因“物”而呈现内涵和意思，“物”因“玩”而幻化新的玩意，于幸泽也就在“玩物”中体验着属于自己的一份“自在”。

2010/8/8于中央美院美术馆

Free Toys----A Critic on Yu Xingze's Latest Works by Wang Huangsheng

Wang Huangsheng, Director of the Central Academy of Fine Art’s Museum

In philosophy, freedom is a part of the essence of “existence”, it is the starting point of existing just for existence, moreover, in the realistic day-to-day life, “freedom” is a very high spiritual and behavioral state, it makes human being just “human”, artists　just “artists”, and life just “ life”. When l look at Yu Xingze's latest paintings, it’s almost as if I had on many levels, many directions, a new experience and understanding of “freedom”.

From life, memory might be the very essence of human existence, we can’t escape the memories of living, and thus from childhood, especially for “travelers” like Yu Xingze. He has already left his hometown to study and live in Germany. For him, the childhood memories became the basis of his “free” life. It became a kind of knowledge of his own potential, without embellishing his longing for his homeland culture. From Germany and the exquisite painting of “Bubbles”, to China and the falling in love with “Inflatable toys”, his fascination for childhood toys, “playthings” became evident. This fascination expresses itself through exquisite details and realistic process, and in this process, he found his own past and present, he found a kind of fixation and knowledge, and we can also say that through it, he found his life “freedom”

From his art, we can see the fusion of Chinese culture’s sensitive expression with German culture’s sensible knowledge. Through natural materials, and natural attitude toward painting, through realistic technique and transparent canvas’ many le veled reflection, he produced a new visual form, and, with a calm composure,he expressed psychological and physiological hidden emotions. Thus the toys, the “playthings” became a kind of medium, became symbols. In “playing” truthfully, in creating the “playthings”, the game gains yet another meaning, that is an important part of Yu Xingze's art in its resolution of the challenges of creation starting point. The life infusing the “playthings” themselves, the psychological and cultural meaning they carry appear step by step in Yu Xingze's creating process. The toys become illusions and deductively create new forms and possibilities.

Maybe these are the ideal toys, the“playthings” that Yu Xingze carries in his heart. The game, because of the objects appears meaningful; the objects because of the game transform themselves in a new kind of amusement. In “playing” with the toys, Yu Xingze experienced his own true “freedom”.

2010/08/08
Gallery of Central Academy of Fine Art , Beijing

Openning: 3:30pm ,13 th Nov, 2010 ,Saturday
Duration: 13 th Nov to 12 th Dec, 2010
Sponsor: M　ART　CENTER
Address: Ground Floor, Building No.2,MoGanShan Road No.50,Shanghai