我對(duì)石巍油畫作如是觀

楊小彥

 

對(duì)女性外形的描繪，不僅體現(xiàn)了一種權(quán)力，表達(dá)男性半現(xiàn)實(shí)半夢(mèng)幻的奇特想象，而且還透露了藝術(shù)家個(gè)人深處的內(nèi)心沖動(dòng)與成長(zhǎng)機(jī)緣。當(dāng)我初看石巍的油畫，那些閃爍在一只無形的變焦鏡頭中的“骨感美女”時(shí)，我突然升騰起一種預(yù)感，以為畫家在這里，與其說是在關(guān)注女性，不如說是在通過女性來評(píng)價(jià)自己。

性別觀看是人類社會(huì)意識(shí)形態(tài)發(fā)展的一項(xiàng)重要內(nèi)容，并且總是和一連串的描述性詞語(yǔ)有關(guān)系。我甚至懷疑性別成長(zhǎng)本身就是一種歷史書寫的存在方式，目的無非是讓那些永遠(yuǎn)也不能重復(fù)的內(nèi)容輕易地發(fā)散在多少已經(jīng)公共化的話語(yǔ)中。從這個(gè)意義來說，一方面，我特別能夠理解女權(quán)主義者的憤怒，因?yàn)椋谒齻兊难壑校瑲v史書寫過于男性化，沒有給女性留下合理的空間。另一方面，我又明白，這些性別的憤怒是不會(huì)有什么更積極的結(jié)果的，因?yàn)樾詣e就深嵌在所有的個(gè)體身上，像基因那樣，把一些遠(yuǎn)古的習(xí)性遺傳給一代又一代的新人，而讓他們無所逃循。

石巍大概就是屬于那些無所逃循的新人當(dāng)中的一個(gè)，否則無法解釋他為什么如此關(guān)注女性。有意思的是，他僅僅關(guān)注女性當(dāng)中的一種形象，一種通常被稱為“骨感”的美女。如果檢索人類歷史，無論中外，在定義女性當(dāng)中，對(duì)肥美的贊美總是占了上風(fēng)。這可能和人類早期的生殖崇拜有關(guān)。要知道，無論是繁衍的需求還是欲望的達(dá)成，性感總是和豐滿連在一起的。然而，隨著現(xiàn)代化中世俗潮流的發(fā)展，一種與之相反的趣味逐漸泛濫起來。先是興起反肥美的風(fēng)氣，以致減肥成為全球化當(dāng)中一道最顯著最日常的風(fēng)景線，減肥產(chǎn)品填塞著絕大多數(shù)的電視廣告專欄，擺放在許多大型百貨公司的櫥窗上和柜臺(tái)里。更有甚者，崇拜中性更成為青少年流行的風(fēng)氣。此外，一年一度的時(shí)裝展示，不僅引領(lǐng)了時(shí)尚的發(fā)展，那些氣宇不凡行走在T字型走臺(tái)上的時(shí)裝女郎，她們的身材、笑臉、化妝和表情，更成為世俗主義包圍下的年輕一代津津樂道的話題。在這種氣氛之下，衣架式的“骨感”能夠成為一種重要的、關(guān)于女性的新價(jià)值，就不足為奇了。

當(dāng)然，我相信石巍之所以對(duì)“骨感”有濃厚的興趣，可能還有更隱秘的個(gè)人動(dòng)機(jī)在起作用。事實(shí)上，許多藝術(shù)家的奇特風(fēng)格，與其說與公共性習(xí)俗有關(guān)系，不如說和個(gè)人獨(dú)特的、無從解釋的內(nèi)在沖動(dòng)有關(guān)系。我無法探知石巍的童年生活的諸多細(xì)節(jié)，但有一點(diǎn)似乎是可以肯定的，那就是他在成長(zhǎng)的關(guān)鍵節(jié)點(diǎn)上，一定有某種女性的因素在起著隱秘的作用，并推動(dòng)他走向自己都無法完全操控的未來。所以，我總覺得在他的眼中，女性不完全是女性，而更像是自我成長(zhǎng)當(dāng)中的鏡像。當(dāng)那些骨感味美女在騷首弄姿時(shí)，石巍看到的卻是一種糾纏不清的情緒。在他看來，始終有一種無法定義的緊張感彌漫在成長(zhǎng)的周圍，從而讓性感本身也變得曖昧不清。

在我看來，曖昧恰恰就是石巍夢(mèng)想要表達(dá)的對(duì)象，而骨感只是一種外在的需要，一種對(duì)情欲的修飾與偽裝而已。當(dāng)他筆下的美女們做著種種驕羞的動(dòng)作時(shí)，當(dāng)她們盯著畫者，其實(shí)也就是觀眾時(shí)，她們的眼神不僅有挑戰(zhàn)，有向往，更有一種無法說清楚的曖昧與猶豫。她們大膽，但大膽當(dāng)中又不無修飾。她們開放，但那是一種確認(rèn)開放不會(huì)帶來傷害的典型姿態(tài)，而不是開放本身。她們本身就是一種矛盾，一種自我抗衡又自我欣賞的欲望糾纏。而所有這些，又都構(gòu)成了一種反現(xiàn)實(shí)的夢(mèng)魘，延伸著，存在著，通過藝術(shù)家的筆觸表達(dá)出來，成為形塑性感，同時(shí)也形塑藝術(shù)家觀看立場(chǎng)的借口。

從這個(gè)意義上來說，骨感體現(xiàn)的并不是時(shí)尚，而是一種立場(chǎng)，一種無法逃脫又極力想逃脫、曖昧與夢(mèng)魘并存、卻又難以落實(shí)為文字的純?nèi)粋€(gè)人的立場(chǎng)。

2007-6-29 廣州

 

 

 

 

 

 

"The Skinny Beautiful Woman": The individual standpoint

about ambiguousness and nightmare

------ Comprehending Shi Wei’s Oil Paintings

                 Written by Yang xiaoyan

 

To describe the image of the female body has not only embodied one kind of authority,

expressed the male’s unusual imagination between reality and illusion,but also has disclosed the artist individual impulse in his heart of hearts and the influential factors in process of his growth . When I at first watched Shi Wei's oil painting---- these "the skinny beautiful women"deformed by aninvisible zoom lens, I suddenly have a kind of premonition that the artist appraises himself through the female more than he pays close attention to the female.

The angle of watching sex is an important content during the development of human

social ideology , and it always relates to a succession of words about sex.. I even suspect the sex growth itself is the way of writing history, its goal is to let the content which can not duplicate forever diverges easily in the public words. For this reason, on the one hand, I can understand the feminist’s anger specially, because, in their eyes, the historical writing is too virile, which has not left the reasonable space to the female. On the other hand, I understood that the feminist’s anger can not have any more positive result, because the sex embodies all the individual body deeply,

just like gene , some habitudes in ancient times pass on from one generation to the new, which lets people could not escape.

    Probably Shi Wei is one of the new people who could not escape , otherwise I can not explain why he pays attention to the female so much.. It is interesting that he merely pays attention to one kind of image of the female body, called "the skinny beautiful woman " . If we retrieve the history, we can find that people always praise the fat woman whether in China or the foreign . This is possible related with reproduction worship in the early time . We know, whether the demand of  reproduction or desire, sex appeal is always connected with the fat  body .However,with the development of moderniistic common custom, one kind of the opposite interest gradually spread.At first people don’t like to be fat so that losing weight has become the most remarkable and most daily scenery line in the world, the product for losing weight has overwhelmed on television advertisement column, and this product has also placed in the display window and the counter in many large-scale department stores. And what is more, the young people adore the neuter. In addition, the fashionable clothing showing every year has not only guided the fashion development, the models walking on T-stage, their stature and face,their makeup and expression have become the topic which the younger generation surrounded by common custom loves to talk about. Under this atmosphere, it is not at all surprising that "the skinny" just like the clothes rack can become one kind of important and new value about the female .

    Certainly, I believe the reason why Shi Wei is interested in"the skinny"so much is possibly related to the individual motive. In fact, many artists' unusual styles are related to the public custom, but they are more related to the artists' individual and unique impulse. I am unable to find out many details about Shi Wei's childhood life,but I believe that when he grew up, some kind of feminine factor has played the secret role,and influenced him. Therefore, I always think in his eye, the female is not the female completely, but the mirror image during his self- growth. When these skinny beautiful women make the posture , Shi Wei saw actually one kind of entangled mood. In his eye, one kind of tenseness unable to define has filled the air in growth, thus let the sexy itself also change ambiguous.

    In my opinion, ambiguousness is exactly the object which Shi Wei wants to express, but the skinny is only one kind of external need and decorating and camouflage to the passion. When the beautiful women in his painting make all sorts of arrogant and bashful movements, when they stare at the audience, their eyesight shows not only the challenge, some yearning for, but also the ambiguousness and the hesitation unable to be said clear. They are bold, but they also cover up something; they are open, but that is a kind of the typical posture which they confirm the open cannot bring any injury to them. They are one kind of contradiction,tangling with the self-admiration desire and self-matching desire. But all these also constitute counter- reality nightmare, which is extending and existing, expressed through artist's brushwork, through it Shi Wei expresses the sex appeal, simultaneously it is also the excuse which the artist conveys his opinion.

In this sense, the skinny manifests not only fashion,but also one kind of standpoint--- purely individual standpoint with ambiguousness and nightmare which the artist is unable to escape but wants to ,and is difficul to describe in writing.

 

 

 

 

                                      June 29,2007, 

in  Guangzhou