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浮动的形象
                            
日期: 2007/3/21 17:45:33    编辑:石头     来源: 今日艺术网专稿    

无数有智慧的哲人在为现这个时代忧虑,因为这个物的世界自恋狂般的展示超级真实的质感,炫耀切近的距离,视觉与心灵的诗意栖居之所已无处找寻了。

 

古丽·斯坦却用她的绘画作品捕捉了机械手段无法呈现的形象,这些形象宛如浮动于心灵之上,表达了超越于日常生活之上的抽象世界,开辟了视觉游弋、心灵期待的空间。

 

她的作品中,没有“青春残酷”的震颤,没有“影像化生存”的策略。她的作品不是口号式的自我表现,与苦涩的彷徨、自我放逐也没有关系。在她的作品中,幽微的淡淡色彩、暧昧模糊的形象,若隐若现的勾线,无意或偶然的痕迹,与热闹的现实以及赤裸裸的表象之间,隔着一个悠远的距离,仿佛一段浮现的记忆。

 

也许,不管她的年龄增长了多少,总有一处内心的空间永远留给她童年进舞蹈学校的那一刻。窗外是她歌舞阳光的新疆故乡,空气中流淌着音符,巨大的钢琴傲慢的踞于一隅。练功房里,日复一日,她向更深、更远处伸展肢体,像是漂浮于水上。

 

这个童年体验构筑了古丽·斯坦精神家园的意象,在其中,包含了自然之神、诗意、爱和冥思的对象,成为日后,她在画布的虚空中一再有意捕捉或无意邂逅的精神母题。日后的每张创作,都是怀着这种 “乡愁的冲动寻找家园”。油画笔取代了自由伸展的肢体,她向一个神秘的世界试探着伸出画笔,以期能够触碰到神灵,抚慰孱弱的心灵。

 

所以,她迷恋感性世界和美,回味歌、舞、音乐的成长,怀念身心统一的本真状态。但是,大都市的过分追求效益与速度而失重的生存空间给了古丽·斯坦挤迫的压力。心灵需求与外部现实之间的矛盾产生了复杂的张力。这种张力并不是消极的驱使她取消“现在”的位置,仅仅对已逝去的、短暂美好的过去怀旧。反而在这个张力的推动下,她的那些“记忆”与当下的生存体验奇异的交融,蓬勃的生长起来。

 

在《我们要去哪里的》系列作品中,舞鞋被从她的生活记忆里呼唤出来,而舞鞋华丽的式样以及装饰似乎又来源于她刚刚看过,却又意犹未尽的西欧歌舞剧。舞鞋的形象不仅仅唤起了“节日里,棕色的女人在行走,在锦绣的大地上……[1]的诗意,同时也发出了那句经典的提问:“我们是谁?我们从哪里来?我们要到哪里去?”。这个同样属于全球化消费时代的文化反思,也隐喻了古丽·斯坦对文化漂泊流浪的焦灼忧虑。斑驳的画面肌理,不可重复的偶遇的痕迹,书写似的点、线,是完全属于她个人的,生发于心灵的这些音符一样的符号构筑了她的独特的语言系统。不同于制造艺术与生活绝然对立的唯美主张,通过优雅的叙事修辞,她使自己免予受到迷乱的虚幻景象、被恶意败坏的“灵韵”的伤害。也为四处蔓延的心灵留出了“返乡”的暗道。

 

《记忆的性质》、《向中世纪致敬》、《有关时间的作品》是古丽·斯坦重要的作品系列。这些一再有书籍纸张出场的系列作品,安静的出现在这个文字世界失落的电子现实中,本身仿佛就是一个精致的隐喻。纸的出场带来一种神秘的气息。手执有折痕的纸或复数形式的纸(书籍),在幽微的光线里凌空虚悬于迷蒙的虚空中。《向中世纪致敬》系列作品中同时还出现了中世纪哥特式教堂的幻影与虚悬的僧侣的多皱折的宽袍。她想要暗示的类宗教般的启示与奥义,像一个隐于梦幻中的谜。但是不难追溯这些书页与手的造型韵味与乔托、弗朗切斯卡等早期文艺复兴大师的渊源。而“虚实相生,无画处皆成妙境”[2]的图式特点,可以在中国传统艺术中找到她的修辞学的起源。《女娲之服》、《摆设系列》等系列作品中的形象又浮现着折枝梅花、青花瓷器、文人画传统题材、民间器物、新疆、敦煌等地区的壁画、神话……等的旨趣。这些纷繁的形象只是她四海无疆精神游历的邂逅,链接到她个人文化根性的优雅,所以如此敏感、美丽。

 

一如她的维、汉两族交融的血统,古丽·斯坦作品中形象的血缘是混杂的,形象的使用是自由的,她游历于不同文化的符号之间,将其自由的挪用、并置,像做一个游戏。她的作品中淡淡流露的纤细的个人触觉,显示了她对这个世界令人惊叹的好奇与天真,所以,她醉心于画布上无声的舞蹈,质朴内敛,浮动的形象只是一个暗示 ……而且,自古以来,诸神的语言就是暗示[3]                        


[1] 德·海德格尔《荷尔德林诗的阐释》孙周兴 商务印书馆200012

[2] 清·笪重光  《画荃》

[3] 德·海德格尔《荷尔德林诗的阐释》孙周兴 商务印书馆200012

 

 

Floating Images

Numerous wise philosophers are concerned for the present time in which the material world is demonstrating a super-authentic quality and flaunting adjacent distances with narcissism that the perch for the poetry of vision and soul is nowhere to be found.

However, Gulistan presents an abstract world transcending the secular life and explores a space of cruising vision and expecting soul with the images in her paintings. Such images, which cannot be achieved with mechanical methods, are like floating above one’s soul.

In her works, there is no shock of “cruel youth” or strategy of “videoed existence”. Not self-expressionist like slogans and unrelated to bitter wandering or self-exile, her painted works are filled with faint colors, vague images, gleaming lines and unconscious or occasional traces, which are separated from the hilarious reality and naked ideas with a big gap, being as if an old memory is flashing in one’s mind.

No matter how old she will be, perhaps there is always a nook in her heart for the moment when she entered the dance school as a child. Outside the window the sun is shining in her hometown Sinkiang, with notes flowing in the air and a giant piano arrogantly occupying a corner. In the training room, she practices stretching, further and further day after day as if floating above water.

Such experience in her childhood constructed the imagery of Gulistan’s spiritual homestead, which embraces the objects of nature, poetry, love and meditation. Such a spiritual homestead becomes the spiritual mother of themes which, later on, she encounters or intentionally catches on the blank canvas from time to time. Each of her works is produced with “the impulse to seek her homestead by such nostalgia”. Free stretching was replaced by oil painting pen: with the pen, she is tentatively exploring a world of mystery, hoping to meet divinities to find solace for fragile soul.

Therefore, Gulistan is infatuated with the sensory world and beauty, pondering on her growing of song, dance and music and missing and cherishing the memory of the primitive state of body and mind. However, Gulistan feels a tension from the imbalanced living space in metropolises, where excess pursuit of benefit and speed are prevailing. A tensile force is gestated by the contradiction between spiritual needs and the reality. Instead of propelling her passively to cancel her “present” position to merely to call on the memory of the transient and fine past, the tension serves as an activator for blending her “memory” and current existing experience and make them flourish.

In the series of “Where Are We Going”, Gulistan calls on the dancing shoes from her memory. The pompous style and decoration of the shoes seem to originate from the Western European singing and dancing opera which she just watched and still has crushes on. The image of the dancing shoes not only arouses the poetry of “In festivals, brown-colored women are walking on the splendid ground…”[3] but also poses the classical questions: “Who are we?” “Where are we from?” “Where are we going?”. Such cultural reflections, which also belong to the global consumption age, imply Gulistan’s anxiety for vagrancy of culture. Mottled texture of paintings, traces of unrepeatable encounters, spots and lines like letters, all are her personal possessions. Generating from the bottom of her heart, the symbols, like notes, constitute her unique language system. Different from the stand of aestheticism that art and life absolutely confront with each other, Gulistan manages to avoid being hurt by the captivating illusionary scenes and “rhymes” blemished by malicious intention with her elegant narrative rhetoric meanwhile keeps a secret passage for the soul pervasive anywhere.

 “Memory”, “Salute to the Middle Ages” and “About Time” are Gulistan’s important painting series. These serially published paper works, emerging in the electronic world where letters have elapsed, are a delicate metaphor by themselves. The presence of paper brings a sense of mystery: with creased paper or paper (books) of plural forms in hand, one feels the void in the gloom light. In “Salute to the Middle Ages” series, there is also an illusion of Gothic church and vague creased gowns of monks. The revelation and meaning similar to that of religion which she indicates is like a myth in dreams and illusions. It is not difficult to trace these pages and the sculpt and rhyme of hands back to the works of masters in earlier Renaissance such as Giotto and Francesco. In terms of the origin of the drawing style “vagueness and reality mutually exist, traceless lines make marvelous spots” [3], it can be found in the Chinese traditional art. Series “Nuwa’s Dress” and “The Latest Works” are filled with fascinating images such as clubs on broken branches, blue-flowered porcelains, paintings of litigators with traditional themes, folk vessels, murals and myths in areas like Sinkiang and Dunhuang areas and so forth. These numerous and complicated images are merely the encounters in her unfettered spiritual travel. Only when they are understood with the elegance of her deeply rooted culture considered, can these images be that sensitive and charming.

Just like her mixed bloodline of Uyghur and Han nationalities, the bloodline of the images in Gulistan’s painted works are mingled, with each images being freely applied. Gulistan travels among symbols of different cultures. Just like playing a game, she apprehends and juxtaposes these symbols at will. The personal taste faintly revealed in her works illustrates her exclaiming curiosity and innocence about the world. She is intoxicated with the soundless dance on the canvas, modest and low-profile. The floating images are but a hint “…Moreover, since the ancient times, the languages of gods have been hints”.

Translated by Gaoliqun

 

                                    
By Stone

February 2007 in Beijing

 

 


 

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