劉禮賓

　　“天真藍！？”——這是我在解讀葛輝作品時腦海中迸出的一個感嘆句兼疑問句——“天真藍！”、“天真藍？”
　　“天真藍！”——一個質樸而直接的肯定，兼具興奮情緒的表達，和葛輝作品的純真、稚拙相契合。葛輝的作品給人的第一印象便是直截了當，渾然天成。葛輝描畫對象，總是能憑借直覺抓住人、物給他的直接刺激，并能將這一刺激貫穿于整件作品的創作過程之中。他對第一刺激的信任和堅持，一方面使他在創作時落筆肯定，對對象不做過多的修飾，保持了所描繪對象原初的意趣，傳統的繪畫技法不再成為藝術家炫耀的資本，反而成為他有意避開的窠臼，技法保持在最低調上，從而和所描繪對象渾然一體。另一方面，在這樣的描畫中，葛輝本人的純真天性暴露無遺，從畫面可以意會到他現實中樂觀爽朗的個性，隨遇而安的處事態度，沒有糾結的純潔心底。只有葛輝這樣藝術家才會這樣畫，這樣表露自己，就像他能看到蔚藍色的天空，并能直抒胸臆：“天真藍！”看似簡單的“看到”并不容易，看似簡單的“直抒胸臆”，磕磕絆絆太多。現實中的大多數人看不出天是蔚藍的，或者沒有時間看，即使看到了，也不敢那么直白的表述，因為那樣顯得外露而簡單，并不符合含蓄隱晦、復雜多變的原則。何況葛輝說的不是天的“藍”，而是說的年輕人青春期的迷茫、處境的尷尬、欲望的涌動、生存的無奈。葛輝直接說出來，臉上還帶著純真開心的笑容。
　　“天真藍？”——仿佛是一個設問，但并不需要回答，表露著作者的疑問。細細閱讀葛輝作品中人物和特定環境的關系，可以體會到“天真藍！”下面隱藏著作者的憂郁和懷疑，以及將對象置入尷尬境遇的不失好意的狡黠。笑容盡情綻放以后面部肌肉會酸痛，心臟也會痙攣；痛快淋漓表述后留給嘴巴的不僅是快感，還有口干舌燥，以及對言多必失的恐懼和反思。像葛輝這樣透徹的藝術家，自然明了笑容和直爽背后的虛空。不過他不想沉迷于表述，擱于對傷痛的迷戀。他懷著自己的疑問，巧妙地設置場景，把他所看到的人、物置入其中。藍天下蕩漾著燦爛的陽光，陽光彰顯的不僅是笑容，還有憂愁、哀傷以及尷尬和無奈。
　　直接、肯定的爽朗與如影隨形的質疑糾纏在一起，構成葛輝作品的正反指向。
　　從正方向來講，葛輝畫中的人、物常處于“敞開”狀態，直接面對畫外的你我。他（她）們大多眼神直視，與畫外人了無阻隔。比如正在《發功》的少女，正面赤身裸體，與你我對視，她們直立“發功”的姿勢與慣常文化習慣支配下人們對女性身體的解讀形成有趣的反差，這一落差一方面顯示了創作者對女生身體的獨特認識，另一方面直接形成對中國傳統氣功的揶揄——本來可以擁抱的女性身體正在發出神秘的“氣”，作為觀眾的你該如何處理？藝術家巧妙地把觀眾放到了尷尬的觀者席上，進退兩難。或純真（或遙遠）的畫中人態度使欲望沖動嘎然而止，觀眾只能哭笑不得。期待《來找我》的少女，被左右兩塊對稱的巨大黑色塊壓著，不成比例的大眼睛占據了臉的太多面積，發射著觸手可及的欲望之光，她們的無遮攔顯示著她們的可愛與無邪，她們絕非極富心機的功利主義者，而是坦誠自己欲望的鄰家妹妹，但觀眾可以感覺到，她們的天很藍！對人物狀態精準的把握是葛輝的獨到之處，他看似“非專業”的繪畫語言又和他所描繪的人、物形成了良好的契合。《來找我》中的少女草草而就，她們僅僅是欲望的載體，不能再簡約的幾塊小顏色便成就了她們的表情和狀態。而上面的黑色塊，也只是最簡單的顏料平涂，卻正好暗示了少女的焦灼和困惑。正是這樣的“簡單”中，畫面氛圍呼之欲出。《小麗呀》也是此類典型的作品，作為題目，亦作為畫外音“小麗呀”，與畫面中涂鴉而成的“小麗”本人形成了直接的呼應——畫家對“小麗”的呼喊與對“小麗”的技法處理相得益彰，妙趣橫生。
　　從反方向來講，在精心設置的情境中，葛輝通過對畫面主角們的特定處理，透出他的懷疑和反諷。在《經理的女朋友今天又沒有上班》中，他把經理的失意，現實社會中權力與欲望的交織、社會不同階層之間的扭曲變形關系，刻畫得淋漓盡致。空間的簡約使人物之間的扭曲關系呼之欲出，作為主角的“經理”、“雇員們”，不在場的“女朋友”在這個簡單的空間中進行著隱晦的表述。而現實中正是這種隱晦使“權色錢交易”明目張膽。三個《醉酒的女孩》中一個女孩操縱者象征欲望的毒蛇，扭動著丑陋衰老的面孔，舞動著象征溫柔的白花；另一個女孩以性感的體態對照著背景中的殘花敗柳，期待畫外人的進入；最后一個女孩則變成了雙性連體人，若隱若現的羽翼與沉重的肉身相對峙，隱喻著始終困擾人類的欲望之謎，她們的眼睛一如既往的天真，正向我們正統文本中對欲望的解釋。三件作品中隱含著一個人的目光，它是來自葛輝的。葛輝以簡單的表述，展現了（習慣被作為）“溫柔善良”女人的另一面，這一面仿佛是藍天下飄動的灰塵，盡管是透明的，但無處不在，眼睛看不到，我們卻在劇烈的咳嗽。
　　“天真藍！？”閱讀完葛輝的作品，卻讓我發出這樣的贊嘆和感慨——“天真他媽的藍！？”
　　The Sky Is Really Blue！？
　　On The Positive and Negative Points of Ge Hui’s Pictures
　　By Liu Libin
　　“The sky is really blue！？”, which is an Exclamatory or Interrogative sentence in my thought when I read the pictures of Mr. Ge. That is “The sky is blue!” or “Is the sky blue?”
　　“The sky is really blue”, which is a Simple and direct recognition, and expresses an excited feeling, and is fit by the pure and the clumsy of his pictures. What the first impression of his pictures gives us is straightforward and nature completed. When he described the objects he could always catch the direct stimulation of these objects depend on his intuition. On one hand, he always trusts and sticks to the first stimulation, which makes him sure for his drawing, have few modifying to the object and keep the original charm of the object described. The traditional drawing technology is not the swanky capital by artists, while he avoids the rut purposely. He does low profiles with the drawing technology, which makes the objects described completely. On the other hand, in these kind of descript, his pureness is exposed. We could feel his optimistic and bright in the reality, and we could sense his attitude of adaptable to everything and his pure heart without any knot. Only he is drawing as this, expressing himself like this, just as only he could find the blue sky and express his feeling. The sky is blue, as looks like very easy to see, but it is not easy to find that. It looks easy to express the feeling directly, but there is too much stumbling. In the reality, most of us could not find the sky is blue or no time to find it, or dare not express so directly though find it because that is too exposed and too easy, which is not in accordance with the implicit, complex and changeable rules. What he said is not the blue sky, but adolescent confusion, embarrassing situation, surging desire, and helpless survival of the young. Mr. Ge says these directly with pure happy smile on his face.
　　“Is the sky blue?”, which looks like a question sentence, but it need no answer, as expresses the author’s question. After watching Ge Hui’s pictures and thinking of the relation between the person and the special environment, I could know about the author’s depression and doubt hidden under “the sky is blue.” I could find the crafty of the author with his kindness after putting the objects into an embarrassing situation. After smiling to one’s heart’s content, he will feel face muscle pain and his heart spasm. After expressing to one’s great satisfaction, he will feel not only pleasure with his mouth, but also thirsty, feared and reflected to the possible mistakes of too much words. The artists, just like Ge Hui all know the void behind the smiling and straightforward, but he has no thoughts to indulge in expressing and to be infatuated with the pain. With his own question, he sets up the scene skillfully, into which he puts the person and the objects seen by him. There is bright sunshine in the blue sky, though which there is not only smiling, but also unhappy, sad, embarrassing and helpless.
　　The direct and positive clearness is kinked by the questions closely, which composes the positive and negative points of Ge Hui’s pictures.
　　From the positive point to say, the person and the object in his pictures are in an open condition and facing us directly. They are mostly looking forward and have no barrier with the people out of the pictures. Just as the picture of Emerging Kung Fu, in which there is a young girl, who is naked, and looking each other with us. Her pose with emerging Kung Fu standing is contrast interesting to the thoughts of girls under the control of normal culture habits. On the one hand, that contrast appears the author’s special cognition to girls, on the other hand, that’s ridiculed directly to Chinese traditional breathing exercises, which in fact the female body embraced now is emerging secret energy, as is how to deal with by the audiences. The artist puts the audiences on an embarrassing situation skillfully while they are dilemma. The attitude of the person in the pictures is pure or far that makes the promotion of desire abruptly put on hold, and the audience only enough to create misunderstanding. The girl in the picture of Come to Find Me is confined by two huge black blocks, and her big eyes owe too much place of her face with disproportionate. Her eyes flash the lights of desire with fingertips and appear their lovely and innocence. They are not very brains of the utilitarianism, but the neighbor sisters with frank their desires. While the audiences could feel that their sky is very blue. To grasp the person’s state preciously is his special ability, and his seemingly non-professional painting words has a good fit with the person and objects described by him. The girl in the picture of Come to Find Me is completed in a hurry, and they are the body of desire. Several little simple colures come into being their appearance and state, on which the black block is painting smoothly with most simple colure, as truly appears anxiety and confusion of the girls. It is in such a simple painting, the atmosphere of the picture appears almost certain. The picture of Ah Xiaoli is also that kind typically. It is as a topic, also as a sound out of the picture, which comes into being a direct echo with Xiaoli her own painted in the picture. The calling for Xiaoli from the artist and the technology to deal with Xiaoli is complement each other and very interesting.
　　From the positive point to say, Ge Hui shows out his doubt and irony though special deal with the hero in the pictures under the situations set up by him carefully. In the picture of The Girl Friend of The Manager Is Not Going to Work Today, he describes vividly that the manager is frustrated and the relationship among different social layers is distorted with the reality right and desires mingled. The simple space makes the relationship distorted among the characters almost certain. As a protagonist of the "manager", "employees" and not present "girlfriends" in this simple space are all in a vague formulation, while in the reality it is just the obscure that makes the trade between the right and the sex more fragrant. One of the three controllers in the picture of A Drunk Girl symbolizes a viper of appetence, which twists ugly face of aging and waves the white flowers with the symbol of being gentle. Another girl compares the background of faded flowers and withered willows with her sexy body, with looking forward the outer coming into. Then the last girl becomes a bisexual Siamese people, with the wings looming confrontation with the heavy body, which is a metaphor of the mystery of human desires always been troubled by the human being. Their eyes are as always naive, with the expression to us of the appetence for orthodoxy in the text of the interpretation. Three pictures imply a person's sight, which is from Ge Hui's. He uses a simple expression, which displays the (accustomed to being as) "gentle and kind-hearted" of women on the other side. It is like the waving dust under the blue sky. Though it is transparent, it is everywhere. We can not see, but we are in a harsh cough.
　　"The sky is blue!?" after watching the pictures of Mr. Ge, as made me to issue such a praise and emotion, which is "the sky is really damn blue!?"