黃 專

 

從畫面關注的經驗內容上看，廣州畫家鄧箭今的作品與北方流行的新生代藝術十分接近。他將作品的精神指向確定在與個性生存狀態、生活現實有關的情境中，作品中一再出現的畫家本人、朋友和家庭成員的肖像更使這種關注染上了濃郁的自傳色彩。但很明顯，他對生活的態度不是純感官性的、自閉的、消極的或潑皮式的，甚至也不是中性化的，至少，按照作者自己的說法，這種關注的動機是為了“重新提出人與現實社會的感應問題和新的反思對象”，為了展示一種“戰勝孤獨、戰勝消極、戰勝浮躁”的理想化的東西（《鄧箭今自述》），我想，正是在這個思維起點上，他與那些平鋪直敘、圖解化、矯飾的逃避式地對待生活的新生代藝術保持了應有的距離。在《天臺》、《逍遙》這類作品中我們能夠看到這樣一些矛盾因素：作者本人具有典型的新生代狀態的肖像被置于一種德爾沃（Delvaux）式的超現實的空間結構中，在低調、沉郁的情緒中，令人輕松、愉悅的女性形象不僅抑制了無聊情緒的空洞蔓延，而且使這種情緒提升為一種理想化的、具有內省特征的幽默感，正是這種現實與超現實，感官和理性，具象性與抽象性的矛盾狀態給作品提示了一種視覺懸念和人文寓意。與新生代畫家不同，他似乎不愿意認同無聊、沉緬于無聊、甚至欣賞無聊，他提示出無聊，但卻謹慎地希望為這種無法回避的無聊找到一種可供解釋的理性邏輯。在更近一點的作品中，作者開始有意識地將個人經驗與某種特殊的社區文化結合起來，這當然不是指作品中日益增多的人數。在《看飛機》、《過客》、《做個快樂人》、《歡樂四季》這類作品中，人際聯系更多的是自然、和諧和人文性的，而不是漠然、病態和異化性的，顯然，他的藝術雖然不具有文化批判的品質，但卻是真實的、健康的和理想化的。

1994年

 

 

 

 

 

 

 

 

 

By Huangzhuan

 

To the content aspect the image concerns, Guangzhou based artist, Deng Jianjin’s works are close to the New Generation Art popular in the north China. The spirit of his works is set in the situation which is related to the personal living state and life reality. The repeated emergence of the painter himself, his friends and family in his works adds rich colors of autobiography to this concern. 

 

However, obviously, his attitude to life is not purely sensory, autistic, negative or cynical, even not neutral. At least, according to the painter’s statement, the motivation of the concern is “re-propose the issue of interaction between people and society and the new objective for reflection”, to show an ideal of “overcome loneliness, overcome negative, overcome impetuousness.” (Deng Jianjin’s Readme). I think basing on this starting point for thinking, he keeps the proper distance with the new generation art whose attitude to life is straightforward, graphic, artificial and evasive. In such works, “Rooftop” and “Peripatetic”, we can see these contradictions- the author’s image typically with the state of new generation is set in an ultra-realistic spatial structure like Delvaux’s style, in the low-keyed and gloomy mood, the easy and pleasant female image not only restrains the spread of the bored feeling, but also enhances the emotion to be an ideal and introspective humor. It’s just this contradiction of reality and surrealism, sense and reason, as well as representationalism and abstractism supposes a visual suspense and humanism significance. Different with the new generation artists, he seems unwilling to agree with boredom, indulge in boredom, or enjoy boredom. He suggests boredom, but he cautiously hopes to find a reasonable logic for this unavoidable boredom. More recently, he begins to combine consciously personal experience and particular community culture. Of course, it doesn’t mean the increasing number of people emerging in his works. In the works such as Look at the Aircraft, Guest, To Be A Happy Person, and Happy Four Seasons, the personal relationship is natural, harmonious and humanism rather than indifferent, sick or alienated. Obviously, although his art is not of the quality of cultural criticism, it’s real, healthy and idealized.

 

1994