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I am convinced that artists' artistic path is very hard and depressing. What he has to face is not only the vast ocean of art and countless works of art, but also all kinds of mature and emerging artistic theories, thoughts and schools in the history of human art, as well as the weakness and rugged and narrow artistic path of personal artistic creation, as well as the obstacles of artists' inner experience, means of expression, technology and even materials. Therefore, the foundation of personal artistic creation and the evolution based on this technology mean fighting, struggling, giving up, growing up and expecting ... all of which mean a kind of pain similar to transformation.
Because of Qian Wen's Five-pointed Star (series), I have been paying attention to Qian Wen's creation and Qian Wen's painful artistic creation for a long time, trying to briefly describe his artistic creation.
[I] Qian Wen, 1986 graduated from the Fine Arts Department of Northeast Normal University, 1997 graduated from the 9th Oil Painting Seminar of Central Academy of Fine Arts, and now teaches at the Fine Arts College of Jilin Normal University. At first, the traditional artistic thoughts of revolutionary realism and revolutionary romanticism occupied a basic position in Qian Wen's artistic life, and his artistic style was mainly to learn from Gregory. After graduating from Northeast Normal University, he created Qu Yuan, Liu Hulan and other works that were obviously very popular in the former Soviet Union and full of "revolutionary" political colors. The characters are "tall, big and complete", full of tagged characters' demeanor and movements. This starting point shows that Qian Wen was an artist who grew up drinking the milk of the "revolution" and followed the stylized artistic road of China's era. According to his early creative path or artistic starting point and initial artistic concept, he should take the standard realistic route.
However, after all, Qian Wen is constantly changing, and the first change occurred in 1989. We know that in the 1980s, our thoughts were quite active, even a little excited. Both scholars and artists are undergoing a major conceptual baptism, and they all show restlessness and anxiety more or less. The most outstanding performance is the profound thinking and introspection of national traditional culture, and even the relatively straightforward rebellion and subversion. Not only in the field of art, but also in the fields of thought, literature, film and television, a critical trend is surging. During this period, Qian Wen also experienced a great self-struggle. However, the winner of this struggle is still a solid realist, but his inherent creative mode began to make some concessions and moved towards the direction of classical photographic realism. During this period, Qian Wen was influenced by more artists, such as Rembrandt and Evil. Although he still walked on the road of realism, he began to abandon the long-term single artistic creation mode.
Style, exploring another realistic technique and expression technique, began to transition from the ideal typical of the mainstream society to the direction of capturing and expressing self-thoughts and emotions through artistic forms.
At this stage, he created representative works such as "Full Red Statue" and "3 p.m. 10", which showed Rembrandt's classical realistic style and Evill's photographic realistic style. 3 pm 10 minutes, crocks, candles, candlesticks, walls and desktops, portrait expressions and mottled all-red statues. , are full of classical mood and aesthetic meaning, and reveal the artist. Through the accurate understanding and description of the way of social existence, the painter's thoughts, emotions and social cognition are expressed by describing the state of the object. At this stage, Qian Wen's technical quality of realistic painting has been continuously improved, forming a good realistic painting skill, which laid a good foundation for his creative development.
After [Ⅱ]1995, influenced by artistic thoughts such as expressionism and surrealism, Qian Wen made a new judgment on classical and traditional art forms, which led to the second inner struggle of his personal artistic direction. During this period, contemporary art in China was in the ascendant and was entering a stage of vigorous development. Qian Wen was once again impacted by the contemporary art trend, especially the three major studios, namely Freud's subconscious theory and the surrealist art school formed under the influence of this theory, which had a great influence on Qian Wen, and the artist's relentless gaze on the world was fully manifested in his works. We can see this change from his human sketch and some portraits at this stage. From the perspective of graphics and color, he began to walk out of the creative mode of classical realism and even photographic realism, trying to break through the original state of existence, and the graphics began to appear some deformation. The use of color also began to show the artist's inner imprint and emotional refraction, and painting began to break away from the method of realistic representation and add more performance and impression colors. Although these works are still concrete forms of expression, the whole visual effect has obviously broken through his own artistic values and started to move towards a new period, becoming a major turning point and a brand-new starting point for his artistic creation.
Along this artistic thought, he also created a series of "dried flowers", such as "Old Red Lined Dry Flowers" and other works, as well as "Rainbow Gate" and "Mobile Phone" (unfinished) which pay attention to people's living conditions. It represents the artist's essential understanding of the object of artistic expression, tries to show people's social life state, and also shows the in-depth torture of artistic form and artist's social consciousness. He surpassed the realistic way he insisted on for many years and showed a lot of surrealism style. According to the artist's personal inner experience, he deeply explored and presented the essence of social existence, and expressed the artist's intuitive and intuitive understanding of many beautiful external existence ways, including lifestyle. This accumulation directly led to Qian Wen's more brilliant creation at the turn of the century.
Around [Ⅲ]1999, Qian Wen absorbed profound nutrition from contemporary art, made great strides towards the goal of contemporary art with long-term accumulated realistic painting skills, made pioneering artistic expression exploration, and made a key breakthrough.
He explored the scene of personal psychological reaction from various styles of social existence, especially in the examination of China's most symbolic five-pointed star and red flag, and found some beauty, goodness, loftiness or decay, ugliness, cruelty, darkness, trampling and destruction hidden behind an existence. He surrounded the five-pointed star, cross, flag, map, etc. with an old red cloth. It has installation significance, and then expresses those images with national and regional concepts and mainstream political concepts by means of realistic painting art, revealing the artist's inner philosophical cognition and ideological reflection under these concepts.
[Ⅳ] This change of Qian Wen is undoubtedly a major turning point in his creative process, which has the characteristics of the times and represents such a trend, that is, artists who grew up in the 1980s, under the impact of contemporary artistic trends, strive to get rid of the shackles of classical and traditional paintings and get close to the trend of contemporary art.
Judging from the development law of personal art, such a change is objective and inevitable, especially like Qian Wen, who did not completely enter the existing mode of contemporary art, but was driven by the essence of contemporary art thought and emphasized the creative theme by means of installation-painting secondary creation according to his personal grasp and understanding of social existence, which is worthy of recognition. He surrounded the red cloth with a five-pointed star, which is an artistic creation in itself, aiming at expressing the blending and confusion of politics and even the concepts of political parties and countries, and has the color of installation art. On this basis, according to the psychological reaction or psychological suggestion of the formed installation image, surrealism painting method is used to strengthen and deepen this cognition. Because in the process of his second artistic creation, he significantly exaggerated and strengthened the concretization of installation art form, and restrained the limitation of the expression of "installation" itself. In the formed picture, there are not only the bright and powerful vitality of things, but also the darkness and death of corruption and sin in the process of existence, which makes the artist's inner monologue and psychological suggestion more clear.
At the same time, Qian Wen did not stop at describing and strengthening the "installation" project. He further abstracted his second-degree works of art and formed an artistic image with relief effect, which completely broke through his realistic style and moved from the source of creation to pure abstract expression.
At this point, we can make a basic description of Qian Wen's artistic creation and artistic route.
First of all, his artistic creation route is classical realism-surrealism based on realism-painting expression based on the installation of contemporary art.
This route belongs to the general route of personal artistic style evolution, and it is also a down-to-earth way forward. Compared with some contemporary artists who lack the foundation of figurative painting and are suspected of "graffiti", Qian Wen's contemporary artistic creation is more logical, active and expressive in development. His works, including the recent "Five-pointed Star" series, are highly abstract and have basic realistic elements, so artistic language symbols with image cognition can be perceived and appreciated from an artistic point of view or even an artistic point of view.
Secondly, his works have a sense of schema transcendence and an open imagination. For example, the images in The Five-pointed Star may give people a direct perception of the existence of a political country and regime (because of the visual cognitive inertia of the red cloth and the five-pointed star), the images of the natural environment on which human beings depend (because of the map significance of mountains, valleys, land and oceans, etc.), and the images of people's thoughts (the images of the brain and the sense of movement). It shows that Qian Wen's creative thought began to take off from the traditional realistic runway and rushed to a pluralistic and open deconstruction that directly expressed personal spiritual quality and thought reflection, with delicate and recognizable schema and image indication. This is the boundary of abstract artistic expression that can be generally recognized by the public. If we cross this boundary, we will enter another difficult-to-identify creative field of self-entertainment and self-expression besides painters.
In addition, Qian Wen's "installation-painting art" draws on the creative advantages and values of installation art, such as the creative motivation and effect of the five-pointed star surrounded by red cloth. At the same time, I am still not satisfied with the degree of creation. It is really fresh and groundbreaking to further depict, exaggerate and strengthen the painter's creative ideas with realistic painting, so that the works have both cognitive and aesthetic effects.
[5] Qian Wen's artistic creation path is a general artistic path based on realistic painting and with profound realistic painting skills. This route laid a technical foundation for his creation, and provided an important guarantee for him to grasp his creative ideas in sync with the progress and changes of society. Therefore, he can gradually complete several leaps in his creative style and concept and realize the direction of his artistic creation form experiment.
Qian Wen's creative path has a good reference value for the development of contemporary artists. Text/Qian Wen
The following words are my inner thoughts on art before and after I wrote the series "1999-Works" in1999, which truly recorded my understanding and pursuit of art during that time.
(1) As far as painting art is concerned, it is nothing more than a schema, which reflects the artist's metaphysical thinking about the world.
Schema is created by the artist's unique use of media factors such as modeling, color and materials. These media factors are used to express the true and unique feelings of art to the objective world or the inner world. This kind of true feeling is the source of artistic creation and the source of power for art to enter the modern world from tradition and rush to the future.
(2)
An art history is also a history of human spiritual development. How to express the spirit through material materials is the lifelong pursuit of artists at home and abroad.
By chance, I found the hole in the corner and the old cloth with red and black double layers, which were consistent with some feelings I was looking for in the depths of my soul. These feelings, which can't be explained clearly in words, are naked, cruel, broken, mysterious, struggling and full of life movements, but they are all inaccurate. In a word, I seem to see the inner, private and essential existence of a thing, which may be the spiritual connotation of later works.
(3)
I remember reading an American book called art form, saying that the existence of the world is a form, and art expresses the essential existence of the world through a form.
The essence of our real world is often covered by superficial forms, and people are often in the false face of "collective unconsciousness", which leads to our world and our life being surrounded by the veil of "whiteness" on the surface. I have been thinking about how to lift the veil on the surface and how to fully express this private and essential existence with a painting language.
Cultural symbols such as five-pointed stars, crosses and flags are used as images in the works to express the existence of this private essence and increase the face-to-face analysis of culture and history.
With the expansion of the soul, the creation will always tend to be complete and mature, but it will never be complete and mature, so my soul will always guide me forward! This is one of the graduation papers of the oil painting research class of the Central Academy of Fine Arts, which was well received by Mr. and Mr. Su at that time and published in the 98.438+0 issue of Contemporary College Art.
Qian Wen
These words were said extemporaneously when chatting with friends, which is my personal view on these issues. The content is basically limited to easels, and there must be many extreme and inappropriate places. Please correct me, teachers and friends.
( 1)
As far as painting is concerned, it is nothing more than the expression of modeling and the expression of color and materials to convey metaphysical art.
(2)
Nowadays, the food people eat requires "green food", that is, wild and naturally grown.
The embellishment and glitz in works of art are hypocritical, ostentatious and grandstanding, just like a woman's thick rouge.
People are excited about Mr. Wang Shikuo's sketch exhibition.
Nowadays, many people like children's paintings precisely because of their innocence and simplicity. In their young minds, they don't know the "value" of showing off.
The existence of simplicity and art.
(3)
Understanding of skills. The history of painting is also the history of human visual questioning objects. The establishment of any master is the unique result of intuitive perception of the object. Then, use a technique to accurately express this feeling. This technique is skill.
Therefore, the first thing to learn art is how to observe and perceive objects with your own eyes, not skills.
Skills are the medium to express emotions and feelings. Without emotions and feelings, skills lose their meaning of existence.
(4)
Sincerity for art should come from respect for traditional times, nations and artists themselves, rather than superficial attachment to art.
(5)
Strictly speaking, all works of art are expressions of artistic ideals pursued by artists. Due to the different modes of communication, it can be divided into classical, realistic, surreal, expressionist and abstract expressions. The determination of this painting language is contributed by the artist's personality, temperament, cultivation, concept and times.
(6)
History used to be dark, and the reason why we can look back and find our way depends on the great history like stars in the night sky. The reason why art can expand forward is due to the teaching of ancient and modern masters at home and abroad, and it is the result of "reviewing the old and learning the new".
In the history of art, there are great achievers who inherit the tradition and succeed, and there are also great achievers who "rebel" the tradition, such as Duchamp.
On the basis of a deep understanding of traditional art, Mona Lisa added a beard to her face and the urinal was taken to the museum for exhibition. It can be said that "winter goes and spring comes" and "another village is bright." In this sense, it is also the result of "reviewing the old and learning the new", and it is the best inheritance of tradition.
(7)
Style is the medium used by artists to express emotional concepts. In order to accurately express the creative intention, it is gradually tempered into a unique formal language, which is the artist's style.
The formation of an artist's style is inevitable in a sense, not the result of choice.
(8)
It is very important for artists to reproduce their unique irrational feelings. It is often the beginning of a style, and may even open an era.
(9)
It is not how the surface of a work of art approaches the objective object, but the true reflection of the artist's feelings and ideas. Some of Rococo's works are unreal and whitewashed. On the contrary, the works of Van Gogh, Franco franco modigliani and Schiller are all true.
( 10)
After seeing the modern artworks donated by Ludwig, the deep feelings of some excellent works shocked the viewer's mind through vision.
It seems that some works in domestic exhibitions are always heavy and flashy, and they seem to jump out and suppress other works.
( 1 1)
The "great events" put forward in art teaching are not only holistic, general and simple. . . . . . Grasping pictures is to cultivate the artist's mind and tolerance. In fact, it is a tempering of the artist's character.
( 12)
Reflections on teaching methods
Any teaching method that prevents students from directly and truly feeling the objective object, develops each student's unique feeling ability and directly displays the object, and carries out teaching according to some old procedural techniques will eventually lead to the rigid and dogmatic consequences in teaching!
( 13)
The relationship between edge line, light-dark dividing line and gray tone in sketch.
The shape enclosed by the sideline is the most important position to provide large image characteristics and large image expression, which directly affects the quality of modeling.
Light-dark dividing line and gray tone are the specific features of providing images, and light-dark dividing line is one of the important means of three-dimensional drawing objects. Don't put them in an inappropriate position and weaken the value and significance of sideline business. Some sketch exercises are rich and solid in color, but they are not specific and solid, and the big image feature is that they can't come out. The reason is the result of not grasping the sideline and the big shape enough. In fact, all the masters are masters of sideline, such as Michelangelo, Angel, Matisse, Picasso, Fan Kuan and Kai Liang.
The conclusion of gestalt psychology shows that the overall expressive force is greater than the sum of local expressive force, so the training of sideline (large shape) expressive force is very important.
( 14)
In a work, it is not about finding colorful nuances. In this way, rich color changes will weaken the huge contrast. As long as there are several big colors, such as lightness, chromaticity, warmth and area, it is very important to handle the relationship between them. The acoustics of color is enough, and the rest is the work of modeling and material application.