自80年代末以來，都市題材一直成為青年藝術家關注和表現的對象，都市題材在呈現當代都市人的生存狀態(tài)的同時，又展示當代的社會和文化問題。藝術家在作品中主要描繪和表達的對象或是自己，或是與其身份相類似的都市青年的生活狀態(tài)和人生態(tài)度。他們作為都市生活的實踐者，同時也是觀察者和反思者，這種互動關系使其具有了雙重身份。正因如此，藝術家與之所表達的對象之間建立的是一種互為對象的平等關系，強調的是描繪者與被描繪者的關系，他們在會心的微笑中平等交流。從理論上說，這種民主態(tài)度、平民身份以及平等關系的藝術探索是有積極意義的。
　　生于70年代初的黃海燕就是以都市青年及其生活狀態(tài)作為表現對象的藝術家，而且主要表現的是都市女性題材。在藝術中對女性的表達歷來是重要的題材。題材可以以性別分類，至于太強調藝術家的性別問題我倒以為大可不必，藝術家創(chuàng)作期間，創(chuàng)作元素與材料的預先設定與超越的觀念表達，性別的因素始終是不在場的。所以，對藝術家的討論不要局限在“性別”這個方面，我認為跨越性別才能有所發(fā)展。黃海燕在對女性的表達上是客觀和理性的。既站在社會學的層面來反映女性，同時又遵循著藝術對女性的認知與理解來表現女性。在他的作品里，女性被置于一個特殊的雙重結構中：社會與女性、自然與女性共存。
　　就社會學層面而言，藝術家的身份不僅是形式的創(chuàng)造者，還是一個社會問題的評論家。傳統(tǒng)的現實主義也具有社會評論的功能，不同的是它隱藏了藝術家的身份，而后現代主義的社會評論則是藝術家在前面對社會問題直接評論，突出個人身份，在現代主義的基礎上，將自我寓于形式的創(chuàng)造中體現出來，并以鮮明的個人話語來表現一種強烈的社會意識。黃海燕站在當代都市青年的立場審視社會，與他自身的文化身份在藝術中具有了一種相互限定、相互闡釋的內在相關性和同一性，因而也使得他的作品具有了特定的社會學意義。上世紀末以來，市民社會為中國社會打開了新的生活空間，日常生活獲得了相對自主、自由的范圍，都市青年與藝術家也進入了獨立思考、以普通生活方式與藝術方式表達他們的社會和藝術態(tài)度的時期。他們的都市生活具有了消費文化的某些特征：輕松、休閑、有趣、好玩、逍遙，也有一些迷茫與嘲諷。毫無疑問，黃海燕的作品中都市女性都有一個鮮明的特點，那就是她們同時充當多重角色，有多個觀察角度，她們既美麗、青春、純凈、高潔，也時尚、孤傲、落寞、含蓄、典雅。畫中只有明確的形象，卻沒有明確的事件，人物的存在并不是要說明畫中人具體的活動，而是透過這些形象來反映一種都市青年的精神狀況。
　　另一方面，黃海燕又將對女性的認知與理解轉向了自然審美。審美形式就像迷人的風景使藝術家樂此不彼。當代藝術的特征就在于藝術的多元性與自身本體語言的形式化傾向。藝術家關注表現技法的個人化圖式的符號性，而這種符號性必須符合藝術家對自己生活狀態(tài)的理解以及個人的審美力。在對當下的體驗與思考，對藝術形式的探索中，黃海燕逐漸建構了自己的精神圖式。他的代表性作品《情緒與狀態(tài)》具有一種綜合性，包涵了多重意義形態(tài)的成分，這使得他的作品從根本上脫離了傳統(tǒng)方式的直觀與對應，而呈現出模糊的、朦朧的，難以釋解的幻象。他特別注意提煉形式的迷離感，看似分割卻并置一體的幾塊狹長畫面分別塑造出形態(tài)各異的多個女性形象；在構圖上，采用具有濃厚裝飾意味的手法，在表現技法上，力求化繁為簡，以平涂的藝術手法達到對人物心靈的透視，在色彩上有意弱化層次對比，于和諧微妙的色調中尋找色彩的冷暖、虛實的縹緲與詭譎。同時，也弱化了人物的立體感和空間感，適度的夸張與變形，圓弧線與形的大量使用似乎是在勾勒人的靈魂而不是實體，從而使作品具有了一種意象的隱喻性。另一幅《側面》則將色彩純化到極致，明亮的黃色調閃爍耀眼，兩個女孩的頭像巧妙疊加，五官虛化模糊，臉部側面加強弧度，飄柔的幾縷頭發(fā)變?yōu)樘鴦拥囊舴@是似真似幻的“心中之象”，神秘如夢，無以名狀，讓人完全沉浸在夢幻的光彩中。
　　黃海燕在描繪時是謹小慎微的，整體的色彩、精微的輪廓與神秘的構成形式，使得這些女性不可思議，琢磨不透，象閃爍的星辰燦爛輝煌，他用豐富的幻想和詩意的語言來詮釋可感知的實體。我們無法用準確的語言來描述畫中的人物，但某些東西是存在于作品之外的，具體真實，并隨著不斷的深入解讀變得更為明顯。正如畫家在自述中所言：“畫最可貴的是在凝凍的畫面之外的那些漂浮的生命。”
　　我不由地想起艾爾伯特 賈克梅蒂說的一段話：“真實仿佛躲在一層薄霧后面，扯去一層，又有一層，一層又一層，真實永遠在隔著一層薄霧的后面。然而我們似乎每天接近一步。就為這緣故，我行動起來，不停息地，似乎最后我終能把握到生命的核心。”
　　海燕，行動起來，不停息地，最后我們終能把握生命的核心。

　　文/陳立紅
　　陳立紅 中國藝術研究院 碩士

　　Institute
　　Lyric Imagination and Metaphor of Images
　　-------deconstructing Huang Haiyan’s works

　　From the end of the 1980s, metropolitan subject has been being the object of the young artists, which not only presents the living state of the metropolitan residents but also presents the recent social and cultural problems. In their works, the artists mainly describe the living state and attitude of themselves or other metropolitan youths similar with them. Thy are the people who practice the life and at the same time, they are the observers and thinkers, which makes them to have double-identity, so the artists establish some kinds of equal relationship between the objects expressed and themselves, emphasizing the relationship between the describer and the described. From the side of the theory, the democratic attitude, common identity and equal relationship play an active role in the exploration of art.
　　Huang, born at the beginning of the 1970s takes the metropolitan youths and their lives as his subject and he mainly focuses on the woman theme. Woman is always the theme of art and the themes can be classified by sex. But I don't think we should pay too much attention to the sex of artists because when the artists create their works they don’t consider their factor in select materials, so in my opinion, if we hope a further development, we must surpass the factor of sexual Distinction. In Huang’s works, he expresses the woman from the objective and rational point, the woman put into a special double-structure: society and woman, woman and nature co-exist with each other.
　　From the point of sociology, artists are not only the creators of forms but also artists of the social problems. The traditional realism also performs the function of criticizing but the difference is that it hides the identity of artists, however, the past-realism push the artists to the frontline to criticize the social problems, and push them to a prominent position to express their strong sense towards the society. Huang contemplates the society from the view of the contemporary youths, which entitles a special sociological meaning to his works. From the end of the last century, civilian society open a new living space for Chinese society, daily life getting a relative free room which makes the youths and artists start to consider individually about the common living patterns and art forms. Their urban life adopts some characteristics of consuming culture: relaxed, interesting, free and confused VS. irony. No doubt, the women in Huang’s works have a distinctive character: that is they play plural-role at the same time and from different point of view, they not only show their beauty, pure elegant but also their fashionable proud, lonely, and reserved.
　　On the other hand, Huang understands the women from the point of nature aesthetics. The influence of contemporary art is its ploybasic and ontological trend. In his experience and exploration of art forms, Huang gradually constructs his own spiritual pattern. His famous works Emotion and State includes component of poly-sense which make his works break away from the traditional forms---objective and corresponding but to show the vague illegible images. He pays special attention to abstract the sense of mist, in organization of pictures using the method with strong decorative sense in skills, turning complication to brief, in colours weakening the contrast between gradation levels, meanwhile weakening the three-dimensional effect and space perception of the figures which give the works a sense of metaphor. The other picture Flank purifies the colours to an extreme degree---light yellow glittering, heads of two girls repeating together skillfully, facial features being vague, wisps of soft hair swaying which is so mysterious that people are lost in its brilliance of illusion.
　　Huang Haiyan carefully depicts, with general colours, exquisite outline and mysterious form, making these women inconceivable, incredible. He used his rich imagination and language to present the perceptible objects. As he said in his autobiography,” The most valuable point of the picture is the floating lives existing outside of the pictures”.
　　I could not help thinking of the words by Albert Jekmidy, “True, as if it is hiding behind a layer of mist, and you tear of a layer, there’s another layer, layer after layer, the true forever separated by a layer of mist behind. However, it appears that we each step closer days. For this reason, I swing into action to keep interest rates, it seems that finally, I managed to grasp the core of life. "
　　Haiyan, come on! Eventually we can hold the kernel of the life.
　　Chen Lihong, master of Chinese Art