卜云军 Bu Yunjun | "无题-花"系列 Untitled-Flower series

从绘画专业毕业之后，卜云军曾在水墨艺术家李华生的工作室工作过两年，帮助其整理资料，对墨的物理特性有所认知。作为材料，墨干涸后形成的黑色反光提示着摄影作品中那些令人着迷的光感，墨的黑色则可以把图像中许多无关的信息去除，这为他提供了继续推进的可能。

无题-花 No.2, 200x200 cm, 绢上水墨，2023

无题-花 No.2, 展览现场

作为"无题-花"系列的起点，卜云军选择的图像来源是用手机随意拍摄的路边花草。图像本身并不重要，他的意图在于从写实性的图像出发，探索出具体形象所蕴含的可能性，或者用他自己的话来说——“抵抗形象”。

“......我的工作最终变成了如何撕开这些具体形象，在这些裂缝中放入一些其它的东西。抵抗形象成了工作的重点，最终有了这些绘画作品。”

所以在"无题-花"系列的创作上，卜云军无意与其他水墨画家比拼技术或意境，而是机械地、重复地用浓墨勾勒或填补出物象的基本轮廓，在写实性的基础上展开后续探索，沿着"遮蔽/显现"的模糊地带，将个体表达植入形象的裂隙之中。

无题-花 No.7, 120x160 cm, 纸上油画棒，2021

无题-花 No.7, 展览现场

毛笔在绢上直接作画会在画面上遗留下许多残缺和不精准。正是这种残缺和不精准，让卜云军在具体形象之外拉扯出一个空间，可以不再纠结作品和原来的图片素材之间的关系，并自在地放入一些自己的东西。经过层层着色后，卜云军的"墨花"成了对水墨画的戏仿，拙感十足的外观下，呈现出一种反叛的气质，而光线的介入也给了图像新的可能性：物象本身不再由现实恩赐于我们，而是需要在反复观赏中自我显现出来。

无题-花 No.1, 200x200 cm, 绢上水墨，2023

无题-花 No.1, 展览现场

而他选择的工作方式需要不断地重复，很多时候他所做的就是一层层地覆盖，先确定物象的基本形态，然后第二遍、第三遍......直到最后将整个背景也刷成墨色。在"无题-花"系列之初，物象尚没有完全填满整个画面，画面仍有留白以及写意性的成分，在探索期的卜云军，彼时并没有完全跳脱出累积千年的水墨传统。但一些个人性的处理已经初见端倪，比如在早期的《无题-花》中，他有时会将一些并无连贯意义的文字加入进去，试图在具体图像与文字符号之间，撕扯出更多的自由空间，同样也是对国画传统中"诗书入画"的戏谑调侃。

无题-花 No.3, 200x200 cm, 绢上水墨，2022

无题-花 No.3, 展览现场

随着创作思路逐渐清晰，在最新的《无题-花》的创作上中，卜云军开始对画面加以调整。比如将基于单张图像展开的创作变为从拼贴图像开始，一直让缠连的枝叶花朵填满整个画面；加大画面的尺幅，好让物象不至于被"尽收眼底"，以展现光线对物象的介入与干扰，并显示观看本身的动态性；最后面对一张已经完成的作品，卜云军会进一步延续过往"以像为物"的内在逻辑，让一滩墨汁在已完成的画面中突兀地停留、干涸，仿佛是制作出一个把手，将形象从二维平面牢牢地锚定在我们身处的三维世界；又或者是一个黑洞，形象以其塞壬歌声般的魅力，把观者深深地向内部吸引过去。

无题-花 No.4, 200x200 cm, 绢上水墨，2022，（局部）

无题-花 No.4, 展览现场

其实对图像的主动遮蔽，在他以前的摄影作品中已经有所显现，彼时他往往把二维的图像当成是物本身，或是进行激进的裁剪、或是让它们以物的方式存在。在他看来，也许只有破坏了观众所熟知的形象之后，那些属于他自己的独特东西才会真正地显现出来。从摄影过渡到绘画，卜云军不再被动等待光线与物象之间微妙时刻的到来；而是主动切入图像之中，以写实性为起点，通过长时间的工作来撕开具体形象，并将某些私密性、个人性的感知注入其中；在糅合了客观与主观的繁花世界里，真理只是隐微地显现着。 

Bu Yunjun was already familiar with ink, having worked in an ink artist's studio for two years after graduating. He understood the physical properties of ink. The dried black ink's reflective qualities inspired him, mimicking the mesmerizing light effects in photography. The black color of ink allowed for the removal of unnecessary details in images, propelling his artistic journey.

Bu Yunjun began the "Untitled-Flower" series with casual photos of roadside plants taken with a smartphone. The images weren't the focus; he aimed to explore possibilities beyond the concrete forms, resisting sticking to a particular image.

"... My work turned into breaking apart these concrete forms and introducing something else into these fractures. Resisting the image became the core of the work, resulting in these paintings."

Coming from a background primarily in photography, Bu Yunjun is well-acquainted with images. His focus is on infusing his subjective perception into the realism of these images. Photography, with its emphasis on the "decisive moment," sharpened his keen awareness of the surroundings and the interplay between objects and light.

In contrast, painting demands a significant investment of time. It involves layering ink repeatedly, starting with outlining the basic form of the object and gradually covering the entire background with ink. This process, akin to a meditative flow, acts as a record of time itself in his works. They not only capture personal emotional shifts but also evoke a sense of transcendence beyond specific imagery within the composition.

In the early stages of the "Untitled-Flower" series, Bu Yunjun explored the possibilities within concrete forms, sometimes playfully incorporating unrelated texts to create more free space between imagery and symbols, challenging the traditional concept of "poetry and calligraphy integrated into painting."

As his artistic direction crystallized, he made adjustments in the latest series, shifting from single-image creation to collage-based imagery, filling the canvas with intertwining branches and flowers. Enlarging the canvas allowed for a dynamic viewing experience, emphasizing the interplay of light and subject.

Bu Yunjun's deliberate masking of images was already seen in his earlier photography works, treating two-dimensional images as objects themselves. Transitioning to painting, he actively immersed himself, infusing personal perceptions into the work, revealing unique elements that emerge when familiar images are disrupted. In this fusion of objective and subjective floral world, truth subtly unfolds.

关于艺术家

卜云军

Bu Yunjun

1982出生于四川

毕业于西南交通大学艺术学院

现工作生活于北京