趙力 Zhao Li

 

2004年即將從中央美術(shù)學(xué)院畢業(yè)的尹朝輝，開始全力準(zhǔn)備他的畢業(yè)創(chuàng)作。他不停地?cái)[弄著自己手中的相機(jī)，尋找著可能的靈感發(fā)現(xiàn)。當(dāng)他偶爾地一次將目光從取景框中平移出來，卻發(fā)現(xiàn)了擺弄相機(jī)的手的那種獨(dú)特的表情。In 2004, Yin Chaohui, who was about to graduate from China Central Academy of Fine Arts, began to exert himself for preparing his graduation creation. Ceaselessly, he fiddled with his camera and tried to find out any possible inspirational discoveries. By accident, once he moved his sight out from the finder frame of the camera, what he found was the unique expression of his hands fiddling with the camera. 尹朝輝有點(diǎn)后悔原本對“手”的熟視無睹，然而正是這種熟視無睹才能更加激發(fā)尹朝輝“發(fā)現(xiàn)”它的那份喜悅。尹朝輝拍攝了大量有關(guān)“手”的照片，在這些照片中“手”仍具有以“手”而存在的基本特征，但是尹朝輝還想做到的是“手”脫離開現(xiàn)實(shí)語境之后的“手”的獨(dú)立性，這些無疑構(gòu)成了關(guān)乎尹朝輝個人創(chuàng)作的最初的語匯與語式。Yin Chaohui was a little compunctious that he had turned a blind eye to the “hands”, whereas it was just the ignorance inspired the joyance of Yin Chaohui when he “found” it. Latter, Yin Chaohui shot a lot of photos about “hands”, in which the “hands” still have the basic characteristics of “hands”, but what more Yin Chaohui wanted to do was the independency of “hands” separated from the context of reality, which undoubtedly composed the initial vocabulary and sentences of Yin Chaohui’s individual creation.  畢業(yè)之后的尹朝輝就著手在畫布上進(jìn)一步去實(shí)施他的“手”的“故事”，從平面性的照片到平面性的繪畫在常人看來是那么簡單的事情，對于那些“圖像挪用”甚至是那些借助于電腦成像噴繪等高科技手段來進(jìn)行創(chuàng)作的“時髦”畫家來說也不是一件難事，但是尹朝輝真正想做的卻遠(yuǎn)不止這些。After his graduation, Yin Chaohui started to further actualize his “story” of “hands” on canvases, from plane photos to plane paintings, which seem to be things so simple and are not a difficult thing even for “popular” artists who carry out their creations with the help of high-tech methods, such as the computer imagery printing, but what Yin Chaohui really wanted to do was more than these.   即便尹朝輝還借助于照相機(jī)去捕捉和記錄那些稍瞬即逝的“手”的表情，然而他一方面已經(jīng)開始主動而努力地裁減這些照片，以此找到他最試圖表達(dá)的“完滿”部分，一方面也開始以單色與平涂的方式，令自己的畫面與自己的照片彼此有別。為了將自己的畫面與自己的照片進(jìn)一步分開，他卻有意識地借用了照相機(jī)的“閃光燈”，在他2007年的畫作中出現(xiàn)了一種“聚光”的效果，猶如“閃光燈”在畫面上的“砰”的一聲式的閃亮，這給畫面增加了某種朦朧而幻覺化的色彩。Even through Yin Chaohui tried to catch and record the transient expressions of “hands” with the help of his camera, while on one hand, he began to actively try hard to clip these photos, so as to find out the “perfect” parts that he wanted to express the most, on the other hand, he began to make his pictures different from his photos by ways of homochromy and plane color. In order to further distinguish his pictures and his photos, he intentionally made use of the “flash lamp” of camera. A kind of “concentration light” effect appeared in his creations made in 2007, which was just like the flash of “flash lamp” on the picture with a sound “peng”, which adds certain dim and hallucinatory effect to the picture. 事實(shí)是“聚光”的效果對于畫面而言還具有結(jié)構(gòu)性的意義，它一方面將人們的目光對應(yīng)于“聚光點(diǎn)”而集中起來，與此同時尹朝輝也可以克服因?yàn)閱紊推酵恐螽嬅嫠a(chǎn)生的“平鋪直敘”，從而形成某種有利于畫面“詳略得當(dāng)”的結(jié)構(gòu)關(guān)系的有效達(dá)成。In fact, the “concentration light” effect also has the structural meaning to the picture. On one hand, it concentrates people’s eyesight corresponding the “concentrate light point”, on the other hand, Yin Chaohui can overcome the dull way of expressing his pictures resulted by the homochromy and plane color methods, so as to effectively realize certain structure relation which has proper distribution in detailed or simple description and hence is in favor of the pictures. 2008年尹朝輝創(chuàng)作的關(guān)注點(diǎn)，不僅從對“手”的表情逐漸延伸到對“皮膚”的表情，他在畫面中有意識地增添了對“皮膚”的質(zhì)感的表達(dá)，并對應(yīng)于“皮膚”的質(zhì)感而“添油加醋”般地去添加了那些皮膚上的“斑點(diǎn)”、“傷口”、“結(jié)痂”、“痦子”等細(xì)節(jié)，這些無疑都構(gòu)成了尹朝輝對于“皮膚”的“表情”的細(xì)致化描述，而且尹朝輝還不斷將“手”的表情和“臉”、“肢體”結(jié)合起來，拓展出了更為豐富變化的畫面語匯和更大的表達(dá)空間。The attention of Yin Chaohui in 2008 is not only gradually extended from the expression of “hands” to that of “skin”, in his pictures he intentionally added expressions of the texture of “skin”, but also, corresponding to the texture of “skin”, added details of “spots”, “wounds”, “scabs”, “naevi” and so on in a way of adding inflammatory details, which undoubtedly compose the detailed description of Yin Chaohui to “expressions” of “skin”, moreover, Yin Chaohui continuously combined the expression of “hands” with “face” and “body” and hence explored more abundant and changeable picture vocabulary and more capacious space of expression. 事實(shí)是在我看來尹朝輝創(chuàng)作的終極目標(biāo)并不是所謂的“現(xiàn)實(shí)化”的記錄或表達(dá)，他追求的是畫面的純粹甚至是近似抽象化的結(jié)構(gòu)，從這個角度加以認(rèn)識的話，尹朝輝的近作則體現(xiàn)了在具體描述上的細(xì)致與整體結(jié)構(gòu)上的完整之間的某種動態(tài)均衡。In fact, in my point the ultimate goal of Yin Chaohui’s creation is not the so-called “actualized” record or expression, what he pursues is the pure or even close-to-abstract structures of pictures. To understand from this angle, the recent works of Yin Chaohui embody certain dynamic balance between the particularity of detailed description and the integrity of whole structure.