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因赛艺术 | 魏阳阳：奇妙的拆分和时空过渡

Original insightart 因赛艺术 2021-02-05

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#艺术人物

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我个人喜欢超现实主义绘画风格，所以我创作的画面是以个人的经历、情感以及价值观的体验，将互不相关的事物并置在一起，将不同的东西以某种奇妙的拆分或过渡联系在一起，将自述性特征和个人审美征兆转嫁到自己的油画创作中。

——魏阳阳

I personally love surrealist painting style, so I created the picture in the individual experiences, emotions and values, put unrelated things together, tied together the different things with a wonderful resolution or transition, and transferred the readme characteristics and personal aesthetic to my own painting creation.

by Wei Yangyang

心境：魏阳阳的画

State of Mind: Wei Yangyang’s Paintings

文/贾方舟

春山奇谈

140 x 220cm

布面油画

2019年

魏阳阳的画带着一种与生俱来的女性气质，细腻中透出内心的宁静，单纯中见出心灵的清澈。采用的是油画的工具材料，画出来的作品却没有油腻腻的感觉。她明显运用了超现实主义的创作方法，画面结构基本上是在二维和三维空间中同时展开，所描绘的景象先是被限定在二维平面（如一幅半展开的卷轴，或一个有边界的平台），但所描绘的景象又总是突破二维平面“立体”地进入到三维空间（如一只鸟的下半部分被“甩”在了被限定的“平面”之外），这种穿梭于不同维度间的描绘，使她的作品具有了一种随机性和自由度，体现出一种任性的乐趣。

远方有多远

100 x 150cm

布面油画

2019年

空中楼阁

120 x 120cm

布面油画

2019年

With an innate feminine temperament, Wei Yangyang’s paintings reveal inner tranquility in delicacy and clarity of mind in simplicity. Although the paintings are painted by the tool material of oil painting, they are not greasy. Obviously, she applied the creative method of surrealism and basically developed the structure of picture in two-dimensional and three-dimensional space at the same time. The picture is first limited to a two-dimensional plane (such as a half-expanded scroll, or a platform with boundaries), but then it always breaks through the two-dimensional plane and enters the three-dimensional space (such as a bird’s lower half is “dumped” outside of the limited “plane”). This kind of description shuttles between different dimensions gives her works a kind of randomness and freedom, reflecting a willful pleasure.

红日幽松

80 x 100cm

布面油画

2018年

寿春图

110 x 150cm

布面油画

2018年

但阳阳作品中的超现实因素又没有给她的艺术带来太多荒诞和怪异的气息。由于她较多采用了传统青绿山水的图像和图式结构，巧妙地将传统工笔画的技巧挪用到油画布上，从而产生出一种恬静、清新和抒情的格调。油画中常见的绘画性和粘稠的笔触感被青绿山水的优雅情致所取代，从而把我们闪回到一种久远的历史感和纯净的自然时空之中。也使魏阳阳对传统的借鉴打破了移植的直接性和简单化，产生出一种奇异的梦幻般的效果和视觉上耳目一新的感受。这种游离于现实的不确定性和幻想因素，与当代人内心渴望的审美意向相呼应。因此可以说，她是从古典情愫中找到了一条通往当代的路。

破坏王在南宋

15.5 x 20cm

布面油画

2018年

蓝桌布

100 x 150cm

布面油画

2017年

The surreal elements in Yangyang’s works do not make her art absurd and weird. Because she mostly uses image and schematic structure of the traditional landscape painting, skillfully transfers the skills of traditional Chinese realistic painting to the canvas, thus creates a quiet, fresh and lyrical style. In Yangyang’s painting works, the common features and sticky brush touch of oil painting are replaced by the elegance of traditional landscape painting, thus flashing us back into a long-standing sense of history and a pure natural space-time. She breaks the directness and simplification of transplantation on drawing lessons from tradition, and creates a fantastic dreamlike effect and a refreshing vision. This kind of uncertainty and fantasy factors free from reality correspond to the aesthetic intention, for which contemporary people yearn. Therefore, it can be said that she found a way to the contemporary era from the classical sentiment.

好江山之二

70 x 90cm

布面油画

2017年

好江山之四

80 x 120cm

布面油画

2017年

也许有人会觉得，魏阳阳的油画是不是太贴近传统而失去了油画自身的特性？关于这一点可以引申出两个话题来谈：一是艺术家画画在为抒发自己内心的感悟，而不是为维护一个画种，媒介材料完全可以不管不顾，为我所用。因为判断一幅画是什么画种不重要，画得是不是有新意才重要。所以一个画家没必要为保持一个画种的纯洁性而画地为牢（可这样做的画家大有人在）；二是传统绘画中文人写意画是其主流，借鉴传统艺术的油画家多从“写意”风格入手，而阳阳却对“工笔”情有独钟，特别是工笔中的青绿山水，与她的内心情愫具有一种“同构性”关联，仿佛那就是她向往的人间仙境、她心仪的世外桃源，或者就是她自己内心的家园。因此，这些一尘不染如净土般的“山水”，可以看作就是阳阳的一种“心境” 。

青卞隼雀图

120 x 180cm

布面油画

2017年

Some may wonder if Yangyang’s oil painting is too close to tradition and lose the characteristics of oil painting itself. On this point, two topics can be extended for discussion. One is that artists paint to express their inner feelings, not to maintain a painting type. No matter what kind of medium material, it can be used for an artist. What it important to judge a painting is its creation but not its type. So it is not necessary for a painter to set a limit to maintain the purity of a painting type (but there are plenty of painters who did so). Another is that freehand brushwork is the mainstream in traditional Chinese painting, oil painters who draw lessons from traditional art mostly start with “freehand brushwork” style. While Yangyang is fond of “traditional Chinese realistic painting”, especially the landscape of traditional Chinese realistic painting, which has a “isomorphic” relationship with her inner feelings, as if that is the fairyland she yearns for, the paradise she desires, or the homeland inside of her own heart. Therefore, these spotless “landscapes” can be regarded as a state of mind of Yangyang.

（本文作者系著名评论家、策展人）

魏阳阳

毕业于中国人民大学艺术学院油画研究生班；

现作为职业艺术家工作生活于中国北京。

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