艺术粮仓 | 海生 Haisheng

海生的元生墨雕艺术

夏可君

现代艺术越是保持“前卫”的原创性，却一直包含一个隐秘的“后退”还原，那就越是要去激活已经被遗忘的原始野性之物，无论是晚年的塞尚面对圣维克多山还是毕加索非洲面具的立体化，从超现实主义的无意识原型梦幻到日本物派对于自然物的挪用，如同罗萨琳·克劳斯所言，这是现代主义前卫艺术的神话还原。

就雕塑而言，从布朗库西到摩尔，雕塑形态都有着一种原始生命的还原，直到贾科梅蒂走向一种魂魄的唤醒，但随着现代雕塑走向数字化复制与社会学空间反思，强调视觉的公共性与机械感，雕塑本身的生命元质性与形态学想象力逐渐丧失了。

而我们在海生最近的新作上看到了此两种本生品质的绝对唤醒，带给我们一种新的元生艺术。

回到雕塑的本源，乃是回到雕塑的“元生”（original generation）与“元质”（original material ）上。此元生乃是雕塑的可塑性（plasticity），艺术家把材质、形态及其精神都还原到世界的本生形态上，并且具有新的原创性？海生的新作让中国当代雕塑获得了自身独立的生命形态（life morphology）。

这些作品在发生学上异常独特，这是海生兄用其画家太太侯珊瑚废弃了的纸本墨色水溶丙烯作品演变而来，海生把这些废弃有颜色的无用废品做成了了不起的纸雕艺术，如果说用纸作雕塑的艺术家不少，但用“墨”来做雕塑的作品却甚为罕见，这是海生的原创！

在海生的原创作品上，当代艺术第一次出现了用“墨”来做雕塑的作品：保留彩墨渗透到纸中的浸润，让绘画的色彩在时间的腐化与孵化中再一次充分发酵，这就绘画反过来成为了现成品；所谓的“坏画”，或所谓的“多余物”，乃至于“废物”，经过时间的自身累积，在自身伸展，在自由的呼吸，召唤一双手的培育与塑造；保留纸质材料的柔软性，经过草书式的扭转，纸质的皱褶得到了幻想的展开，看起来似乎是生命的原初胚胎，是大海波涛回响的海螺，是阴阳互抱的元生母体，是材质的灵媒化；随着以“金属网”来网住纸质与泥土，更为加强了柔软的可塑性，生成出更为多变的形态，如同音乐建筑，其颜色的质感经过巧妙的色彩涂染，透显出包浆的神秘润泽；此元生的形态学创作，就在绘画与雕塑之间就形成了“共生”的关联，让绘画的色彩与纹理的质地，经过时间的风化后，重新生成为立体的雕塑，这就在平面绘画与立体雕塑，在柔软与坚硬之间，在绘画与手感之间，在人为与自然之间，让元生性与形态学得到了最为凝练与准确的呈现；甚至，不仅仅是视觉，还打开了世界的倾听，宇宙的节律与原始力量的呼唤，似乎回响在这些元生作品上，宛若天籁之音，这也是中国灵媒艺术的代表作品。

一如艺术家其名“海生”，这些雕塑的形态非常神奇，宛若大海倾吐出的“海生之物”，好似“海螺”，这就是生命自身的元力被唤醒的标志！而且这与艺术家在移居美国相关，25年来生活在佛罗里达州的大海边，从圣·约翰河发源地的“蓝泉”中接受生命重生的洗礼，从大海中自由嬉戏的动物生命所领悟到的透彻，对于东西方人性的比较与洞察，还有在海外对于西方艺术的深入理解，在放弃了无数的诱惑之后，毅然返回故乡，回到艺术本身，倾听世界的内在召唤，回到生命的元动力，回到雕塑的基本元素上，尤其是回应大海的召唤上，这些作品似乎聚集了整个大海的波涛节律与涌动的活力，但又被赋予了婉转与通透的形态，让材质凝缩出宇宙回响的旋律。

如此的回旋形态，重新激活了庄子所言的“三籁”艺术，这是把视觉还原为触觉，再把触觉向着抽象的听觉还原，如同老哲人黑格尔所言，耳朵才是最为抽象的器官，倾听才是最为原初的生命注意力，让雕塑回到倾听，这是海生兄回到了“元生艺术”的本源。这些作品，首先听起来如同“人籁”，如同人类内心的叫喊，如同生命在伸展时的呐喊之声；其次又如同“地籁”，这是聚集大海涛声，似乎是大海在塑造事物，其蜿蜒旋转的形态，在自然地接纳与倾吐，接受各种元素性力量的呼唤；最后则回响着“天籁”之音，至高的艺术乃是打开一个天地人回响的回声空间，此回声空间才是雕塑敞开自身的秘密。

在色彩上，这些雕塑也异常迷人，墨色的加入，让一种来自于大地漆黑深沉的隐秘力量，让黑夜的黑夜凝聚在了雕塑的表面，这些网状的格子在时间中铁锈化，宛若抽象画的痕迹，铁质幽暗的不朽感，迷人的包浆色，或者是新鲜的土褐色，都带有祭品一样的庄严感，如同世界的灵媒，聚集了天地之灵气！

墨雕 20G07，50×48×46cm，纸塑泥、金属网、墨、综合材料，2020

Ink sculpture 20G07，50×48×46cm，Paper-plastic clay, metal mesh, ink, integrated materials，2020

雕塑艺术的魅力在于回到自身生成的元生力，海生的纸墨雕塑作品，让我们看到了一种真正元生艺术的可能性，它体现为自然的再生性与形态的可塑性之结合，它具有当代艺术的理论价值与灵媒艺术的典范性：这就是让宣纸与水墨，让墨感与泥色，让抽象的纹格与自然的形态，蜿蜒与硬朗，看起来截然不相干甚至对立的要素之间，形成相反相成的关联，在当代建筑的简约与自然母体的回环之间，尤其是形态的相互回环上，就如同阴阳太极原理的形态学活化，又带有中国古代雕塑的形态学回想，同时还在青铜器的鼎器与汉代陶壶上吸取魂魄，又借取西方雕塑的硬朗与尖锐，形态上重塑了生命的元形态。

一旦以青铜或者玻璃钢这些更为坚硬的材质放大挺立起来，其在天地之间，在大都市之中，就可以把一个虚无崩散的世界重新凝聚起来，形成祭坛一般的生命中心。只有具有如此灵性的作品，才可能建构起我们呼吸的隐秘中心，启动世界的隐秘心跳，建构灵媒的祭坛。就如同美国伟大诗人也是与佛罗里达州息息相关的史蒂文斯对于世界之“坛”的描绘，“如空气中一个门户，统治每一处”。海生这些“元生艺术”的作品具有隐秘救赎的力量，就在于它们其实就是我们的心脏，它们都是来自于世界内在心魂的外化，是艺术家个体之心与天地宇宙之心的元生共感，让艺术成为唤醒魂魄的灵媒，让灵媒艺术主宰我们生活世界的心脏，这才是一个灾变年代艺术所应该贡献的救赎力量！

墨雕系列，106×56×58cm，纸塑泥、金属网、墨、综合材料

Ink sculpture，106×56×58cm，Paper-plastic clay, metal mesh, ink, integrated materials

Hai Sheng’s Ink-Painting Sculptures of Original Art

Xia Kejun

Even though modern art tries to rush forwards in creating, it actually takes a secret backward step into originality. Those creatures of original wildness, which have long been forgotten, are rediscovered, such as Montagne Sainte-Victoire by Paul Cézanne in his late years, African tribal masks by the cubist Pablo Picasso, unconscious dream and fantasy emphasized by surrealists and natural materials explored by Mono-ha. The backward step, as Rosalind Krauss claims, is a revival of myth in modern avant-garde art.

For sculptures, from Constantin Brâncuși to Henry Spencer Moore, its shape is to show an original state of life, and then in Alberto Giacometti’s work, it is to give a spirit to sculptures. However, modern sculptures emphasize visual acceptance and mechanization in view of the trend of making digital copies and reconsideration of space in sociology, while their originality of life and morphological association have been lost.

Hai Sheng’s new works, however, bring back the originality of life and morphological association. It is a new art brut.

To pursue the origin of sculptures is to search for sculptures’ original generation and original materials. In original generation, which reflects a sculpture’s plasticity, artists can reset original materials’ texture, shape and spirit to an original state and reorganize them into a new creation. 

Hai’s works mark Chinese contemporary sculpture’s great success in gaining unique life morphology. These works are phylogenetically extraordinary—they were made from ink acrylic paintings that were discarded by Hai’s wife Hou Shanhu, a painter. Hai converted the ‘useless colorful trash’ into wonderful paper sculptures. While there are many artists creating paper sculptures, Hai is the first one to create the unprecedented paper sculptures with ink.

In contemporary art, ink is first used on sculptures. Ink paper sculptures keep ink paintings’ unique features, i.e. ink’s trace of penetrating and spreading on the paper and ink’s changing color. An Ink painting itself is a finished pristine sculpture. These so called ‘bad painting’, ‘remainder’, or ‘trash’, changing as time goes by, freely stretching out, breathing in and out, are rebuilt by a creative hand to a unique sculpture with paper’s softness and cursive script. Paper as an original material of sculpture blooms with imagination. The ink paper sculptures are spiritualized materials, like an embryo of life, a conch echoing with sea waves and a maternal body combining Yin and Yang. As ‘metal net’ supporting the paper and mud makes the sculptures’ frame more changeable, the sculptures’ shape is more various, like musical construction and their color is of mysterious flowing glaze with colors strategically added.

落雪系列 21BW31，纸塑泥 金属网 墨 综合材料，82x40x102cm，2021

Falling Snow Series 21BW31, papier, metal mesh, ink, mixed media, 82x40x102cm, 2021

This kind of morphological creation of originality makes a symbiosis between painting and sculpturing. After a period of air-slaking, papers’ changed color and texture contribute to a spatial sculpture, which exactly shows originality and morphological expression in flat painting and spatial sculpture, in softness and hardness, in feeling and touching, in human and nature. Except visual contributions, paintings even make sculptures more avid for the music of nature: the world’s sound, the universe’s rhythm and the calling of original wildness. In this aspect, Hai’s works do represent Chinese Psychic Art（中国灵媒艺术）.

Just like Hai Sheng(sea-born)’s name indicates, these sculptures with unconventional shapes are like conches， sea creatures that are carved by waves. This is originality brought by Hai’s works. The likeness of his works and the sea relates to the artist’s experience of living in American coastal area, living near the ocean in Florida for 25 years, refreshing himself in the “blue spring” where St. Johns River starts, penetrating the commonalities and differences of the West and the East and diving into Western art. Facing so many temptations, he came back to his motherland without a moment’s hesitation. Since then, he have come to art for art’s sake, have heard the inner sound of the world, have focused on the originality of life, have returned to the most basic elements of sculptures, and have especially answered the call of sea, so that his works show a picture of waving water showing dynamic vigor of sea in a mild and sharp form, a grand chorus of the whole universe condensed in simple materials.

锈白系列 21W08，纸塑泥、金属网、综合材料，98x60x75cm，2021

Rusty White Series 21W08, papier, metal mesh, mixed media, 98x60x75cm, 2021

The grand chorus reminds us of Chuang Tzu’s ‘three musics’ art, from the sense of sight to the sense of touch, from the sense of touch to the more abstract sense of hearing, as Hegel once said—ears are the most abstract organ; hearing is the most original reaction of the alive. Letting man hear sculptures’ voice, Hai touches the most essential part of the art of originality. At the first glance of Hai’s sculptures, men hear the music of man, people screaming deep in their heart and creatures roaring when stretching; after a second look, men hear the music of earth that waves pounding, the sea is creating, by inhaling and exhaling, accepting every element’s power and having water swirling; with staring at them, men hear the music of heaven, a supreme state of art, that can create a chamber for sculptures to resound to the universe where men, earth, and heaven co-produce sounds. The chamber is a secret key for sculptures to face themselves.

The sculptures’ color is also charming. Ink, with secret power of earth black, adds dark of late night to sculptures’ surface; oxidized metal net leaves an abstract painting on the paper. Classic iron black and new clay brown with attractive patina of age give them a sense of solemnness, like every spirit of the universe in an aura of grandeur.

The charm of sculpturing lies in the originality revival. Hai’s ink paper sculptures, combining the natural originality and morphological plasticity, makes real Original Art possible. They are of great theoretical value and representativeness of Psychic Art(灵媒艺术) since they connect seemingly different elements, even opposite elements, such as Xuan paper and ink, the color of ink and mud, abstract lines and natural forms, softness and sharpness. The cycle of minimalism of contemporary construction and the theme of nature reforms sculptures’ original form in terms of morphological realization of yin-yang, morphological consideration of Chinese antiques, such as ancient sculptures, bronze vessels and ceramic pot of Han Dynasty and Western sculptures of sharp and strong lines.

落雪 21BW04 纸塑泥、金属网、综合材料 80x60x76cm 2021

Falling Snow 21BW04 Paper-plastic clay, metal mesh, mixed media 80x60x76cm 2021

With the help of hard materials, such as bronze and fiber reinforced plastics, metropolitan sculptures can reunite displaced parts of the world to converge at an altar-like life center. Only these spiritual sculptures can provide us with invisible ventilators, making the world beating again and create an altar for spirits(灵媒的祭坛). The ‘Jar’ of the world, as depicted by Wallace Stevens, a famous American poet who also has a lot of stories with Florida, was “of a port in air. It took dominion everywhere”. Hai’s works of Original Art are capable of saving the world invisibly for they actually connect with our heart, they are the outside representation of our spirits and they are the primary connection between individuals and the universe. In the time of pandemic, art should raise spirits and dominate heart of the world. That’s what art should do.

锈红 21R33，纸塑泥、金属网、综合材料 ，76 × 35 × 60cm，2021

Rust Red 21R33, papier, metal mesh, mixed media , 76 × 35 × 60cm, 2021

海生（原名仲伟生）  

1959年生于哈尔滨，1977年毕业于黑龙江省艺术学校舞台美术系，1983年毕业于解放军艺术学院美术系，1992年移居美国，2014年至今常住北京。

个展

2020—《元生》珊瑚&海生双个展，艺术粮仓，北京 

2019—《过往》海生摄影作品展，十柜画廊，宋庄 

群展

2022—恢复的真相，艺术粮仓，北京

2021—广州当代艺术博览会，艺术粮仓，广州

2021—西岸艺术与设计博览会，艺术粮仓，上海

2021—ART深圳，艺术粮仓，深圳

2021—第五届宁波当代艺术展《我与空间》艺术展 ，宁波

2021— 王府半岛酒店北京城市博览会 ，艺术粮仓，北京

2021—《黑白之道 》当代水墨艺术厦门美术馆 ，厦门

2021—艺术厦门《黑白之道》当代水墨主题展，厦门国际会展中心，厦门 

2021—《正墨》当代水墨大展，艺术粮仓，深圳雅昌艺术中心  

 2021—广州设计之春，艺术粮仓《墨之春》当代水墨主题展，广交会展馆，广州

2020—西岸艺术与设计博览会，艺术粮仓，西岸艺术中心，上海

2020—GFAA2020嘉德典亚艺术周，嘉德艺术中心，艺术粮仓，北京

2020—艺术深圳博览会，艺术粮仓，深圳会展中心，深圳

2020—《心象》当代水墨艺术展,艺术粮仓，恒裕深圳湾，深圳

Chinese American artists Hai sheng 

Born in Harbin, China in 1959. He graduated from the Stage Art Department of Heilongjiang Art School in 1977 and graduated from the Chinese Painting Department of the People's Liberation Army Art Academy in 1983. From 1992 to 2013, he lived and worked in New York, Orlando and Florida

He has lived in Beijing since 2014 and is a freelance artist.

Solo Exhibition

2020-"Yuan Sheng" Coral & Haisheng Double Solo Exhibition, Art Granary, Beijing 

2019-The Passing" Haisheng Photography Exhibition, Ten Cabinet Gallery, Songzhuang 

Group Exhibitions

2022-The Truth of Recovery, Art Granary, Beijing

2021-Guangzhou Contemporary Art Fair, Art Granary, Guangzhou

2021-West Coast Art & Design Fair, Art Barn, Shanghai

2021-ART Shenzhen, Art Granary, Shenzhen

2021- The 5th Ningbo Contemporary Art Exhibition, I and Space, Ningbo

2021- Wangfu Peninsula Hotel Beijing City Fair, Art Barn, Beijing

2021- "The Way of Black and White" Contemporary Ink Art Xiamen Art Museum, Xiamen

2021- Art Xiamen "The Way of Black and White" Contemporary Ink and Wash Exhibition, Xiamen International Convention and Exhibition Center, Xiamen 

2021-"Zhengmo" Contemporary Ink and Wash Exhibition, Art Barn, Shenzhen Yachang Art Center  

 2021-Guangzhou Design Spring, Ink Spring Contemporary Ink Painting Exhibition, Canton Fair Complex, Guangzhou

2020-West Coast Art & Design Fair, Art Barn, West Coast Art Center, Shanghai

2020-GFAA 2020 Guardian Duenya Art Week, Guardian Art Center, Art Barn, Beijing

2020-Art Shenzhen Expo, Art Granary, Shenzhen Convention & Exhibition Center, Shenzhen

2020-"Heart Image" Contemporary Ink and Wash Art Exhibition, Art Granary, Hengyu Shenzhen Bay, Shenzhen

【恢复的真相：规则、感官与无限性】

【The Reality of Recovery ：sensation, regularity and infinity】

策展：张涛

学术主持：徐薇

Curator: Zhang Tao

Academic Chair: Xu Wei

展览时间 | Exhibition time

3.20-4.20

开幕时间 | Opening time

3.20  3:00pm Sun.

Address | 展览地址

北京市朝阳区草场地100号艺术粮仓

Art Granary, No.100 Caochangdi, Chaoyang District, Beijing

艺术粮仓 Art Granary 

艺术粮仓一直致力于将中国文化艺术—水墨艺术融入当代语境，以严谨的学术态度，联合策展人、评论家共同策划呈现中国当代水墨系列展览及大量学术研讨活动。作为国内前沿的艺术机构，艺术粮仓通过与艺术家的深度合作，系统的呈现了中国当代水墨的当代性、国际性、未来性，力求让世界更好地认识到中国当代艺术的东方气质和艺术价值。同时在多年的艺术运营推广和资源方面积累了丰富的经验，参与策划并执行了诸多公共艺术项目，打磨了一个较为成熟的艺术项目团队。欢迎国际艺术家和艺术机构到中国来展览，与艺术粮仓展开深度密切的合作，期待您的复函！

 

Art Granary has been committed to integrating Chinese culture and art-ink art into the contemporary context. With a rigorous academic attitude, Art Granary jointly plans and presents a series of exhibitions and numerous academic seminars on Chinese contemporary ink and wash with curators and critics. As a cutting-edge art institution in China, Art Granary systematically presents the contemporary, international and future nature of Chinese contemporary ink and wash through in-depth cooperation with artists, striving to let the world better recognize the oriental temperament and artistic value of Chinese contemporary art. At the same time, we have accumulated rich experience in art operation promotion and resources for many years, participated in planning and executing many public art projects, and polished a more mature art project team. We welcome international artists and art institutions to come to China to exhibit and start a deep and close cooperation with Art Granary, and look forward to your reply!

北京市朝阳区草场地100号艺术粮仓

郵箱：coop@artgranary.cn

聯繫電話：18810289856