空间站艺术中心 | 马骏个人项目即将参展上海ART021博览会 | Booth : E1-10

上海廿一当代艺术博览会  主画廊单元

2023 ART021 SHANGHAI CONTEMPORARY ART FAIR

空间站艺术中心  展位：E1-10

SPACE STATION ART CENTER  Booth E1-10

空间站艺术中心将于上海廿一当代艺术博览会

呈现艺术家马骏个人项目

绘画于我是某个时期审美信息疯长之后的修修剪剪

（访谈录音整理）

    一直以来就比较侧重于自然而然地流淌式的绘画表达，喜欢绘画中的真趣与生机，自然洋溢出来的画意，以简驭繁，注重精神精度的表达，分寸、法度在貌似不经意当中有不露声色的流淌。这种自然质朴的表达方式，是心手之间的默契，也是我一直以来用心捶打、沉淀的画面之美。当然，这也是要从真正的传统中去多解读多思考，以萌养画面正气，多发现并灵活理解规律性的东西，从规律出发，打破各种语言之间的界限，从一点一滴、一招一式中去发现自己，并把这些信息沉积为一种力量，并随着信息的浓度的调整，不断补充或重组。这种力量的储备、调整与表达过程，也就是我自身的所谓创作过程。

    绘画于我较好的状态是不吐不快，是某个时期审美信息疯长之后的修修剪剪。这种传达不脱离前面提到的对画面意味追求的主线，只是每个阶段用新的视角或信息对以往的储备有一种重新的激活，会有一些新的尝试，更多的是对一些信息的重新调试或对当下审美所需味道的调整。近些年的绘画更为强调内在力量的表达，更大程度去掉或减弱外在的修饰语言，向内延伸，更为强调画面的浑穆与朴茂，要求语言更为概括凝练，用笔用墨都尽可能把形象意味更为完整、清晰地从画面中剥离出来。在动笔之先心象的量感、状态，在脑海中往往是较为清晰了，会更为迫切地希望借助形象语言，把心象的力量表达尽意完整，希望绘画在纸上有应声落地的感觉，因此如何捕捉，捕捉的是否精准，一直是我个人需要不断思考不断完善的问题。表达方式更多是从线入手，并不断完善，一点点呈现出画面，有时也可根据创作状态倒叙式地直接呈现形象，进而再去有针对性地进行完善。

    无论什么方式，都是为了更好地把握住所画物象的神采和内在精神。在近期的绘画创作中也尝试直接用墨或色直接画出要表达对象的大形，没有细节，只是一个有节奏变化、开合关系的混沌的轮廓，然后在轮廓的基础上用笔去提或醒。这一过程于我来讲，尽可能要连贯，是一种沉浸式的表达，也是一种倒叙式的处理，以画面的形象为依托对心象的更准确的勾画。当然这一切都基于个人对更为整体概括的形的喜爱。这些形象的灵感多来自于与绘画相关的材质多变的其他艺术门类当中，这些形式虽然受囿于材质性、体量与实用功能等因素，在这些看似受限的形式表达当中，实则在形象的处理上都更大程度地激活了创作者的创造力，也有着更为丰富多变、天趣盎然的表达。注重外轮廓的勾画，形象修饰紧密结合外在线条的力量呈现，多有神来之笔，这些对于关注形与线相关连的我来说，在创作上给予了巨大的艺术滋

养。

    今年春天的艺术考察期间，又专门去看了霍去病墓石刻，距离上次来看已经好多年了。随着欣赏视角的转变，在重读经典中，仍然被石刻高度的概括写意于大气雄浑中传达出来的细腻情感所震撼。霍去病墓石刻是比较典型的倒叙式的表达，制作者是被原石的势与力量吸引，从中挑选发现自己所需要的，因势象形。我们所欣赏与体味的，正是作者在原石基础上的取舍与刻划，从神出发，后来的刻划看似大刀阔斧漫不经心，实则分寸感、度的把握极精准。或在相对平整的原石上，线的切割、划开的节奏变化，像一幅大型的线描作品，或用极简的刀法非常写意地表现对象，保留住原石本身的形态量感，传达物象特有的精神，或借助原石的自然纹理，从中只做局部的刻划。形成人为与自然巨大的互动力量，这些表达都基于创作最初的立意，一切分寸的拿捏都来自于对表现对象的神的捕捉，这种语言在不同的形、量、势的原石之间相互呈现，是非常动人，也是有浓浓画意的。如同绘画中的虚与实，着线与留白生动真切地唤醒了原石的内在精神。手法在这一刻与内在精神之间的呼应也非常默契。我们在欣赏这种神完气足的作品时，应更关心在作者在创作中对完整精神的把控能力与大胆的取舍，和细腻的精神表达。

    感动于这种用多变的语言去唤醒、丰富一个混沌、概括的形，这也是我这段时间以来在绘画中的思考与尝试。在剪出外形的金箔上用笔去唤醒造型，也是这一感受包括绘画的一种延续，是与我以往对绘画的追求一致的，只是换了一个材质。金箔的柔软与篇幅，不允许在剪纸中有太多的细节与犹豫的表达，更多的是一种即兴发挥，画面的形式内容不一，审美更多的是一种片段式的，能更为纯粹、直接的传达即刻感受，于畅神中针对一些偶然性，还有因势就形的发挥。过程中会有很多的不确定性，有金箔的自然剥落，对造型会有意想不到的呈现，为本就浑然的形增加了几分天趣。墨与色在金箔上会时有晕散，与金箔产生各种碰撞，如何去应对处理都是全新的感受，这个过程也调动了很多想法与画意。用概括的直线节奏变化，语言间的递进关系，呈现了绘画中想做但不易表达的一种味道，在剪制中都能干脆、概括地表达出来。在金箔统一的篇幅中，根据自己想要的形和形传达的力量，选择着或团块或分散的表达方式。

对于画面运用就要更大地调动自己以往的营养储备。这种调动是非常愉悦的，选择的表达题材也是自己平时比较喜欢的类似于把玩式的一种表达。把自己喜欢的形或片段式或较为完整地凝聚于一个点上，天马行空的表达，像碎片，但要把心中浓浓的审美应声而出，在外形的基础上，如前文所提要有取舍有保留地去勾划，在确定与不确定性中间更快地做出判断和手法上的调整，最大程度地保留住外形的鲜活。过力的刻画，有时反而让外形应有的气象有所削减。如何唤醒如何点到而止，实则是极大的考验着最初的形象立意，要充分沉浸于整体的呈现与唤醒的创作节奏中。这是一种对绘画精度与浑然表达的新鲜尝试，多是在紧凑状态下完成的，因此更接近于一种精神物化，更接近于我个人所乐于表达的应声而出的状态。无论用何种方式何种材料去表达，都是基于自身对造型之美的理解。对自己绘画中一些习惯性的处理手法也多有调整与补充。

Painting is Trimming after the Aesthetic Information Growing Wildly

I have been focusing on the natural flow of painting expression in favor of the true interest and vitality in the painting, controlling complexity in an easy way, emphasizing the expression of spiritual precision, proportion, and law in the seemingly unintentional flow of the unobtrusive. This natural and simple way of expression is a well coordination between mind and hand, and also the beauty of the picture that I have been tempering.It is also, of course, about interpreting and pondering the genuine tradition in order to sprout the heathy atmosphere, discovering and understanding the regularities flexibly, starting from the law and breaking the boundaries between all kinds of languages to find oneself from every action, and depositing this information as a kind of power, which is constantly replenished or reorganized with the adjustment of the concentration of the information. This process of reserving, adjusting and expressing power is also my own so-called creative process. 

The better state of painting, for me, is to pour out what is in my mind, to trim and cut after a certain period of aesthetic information that has grown wildly. This kind of communication does not deviate from the main line of pursuing the meaning of the picture mentioned above, but at each stage, there is a kind of reactivation of the previous reserve with new perspectives, and there will be some new attempts, which are more like a re-tuning of some information or an adjustment of the flavor of the aesthetic needs of the moment.In recent years, paintings emphasize more on the expression of inner strength, removing or weakening the language of external modification in a good deal, and, by extending inwardly, emphasizing more on the murkiness and simplicity of the picture, and demanding a more general and condensed painting language to strip the image and implications as completely and clearly as possible out of the picture by using the brush and ink. Before painting, the sense of quantity and the state of the mental image are often clear in the mind, and I hope more urgently to express the power of the mental image with the help of figurative language, and hope that the painting will have the feeling of falling to the ground; so, how to capture and whether to capture accurately have always been the issues that I need to think about constantly. Expressions, at the beginning, are more from the line, and continue to improve, little by little to present the picture, and sometimes also according to the state of creation of the flashback directly present the image, and then go to the target to improve.

 No matter what the way is, it is all for the purpose of better grasping the spirit of the painted objects. In my recent paintings, I have also tried to use ink or color, straightforwardly, to draw the shape of the object to be expressed, without details, just an outline with rhythmic changes, based on which using the brush to make it stand out. This process, for me, is as coherent as possible, and it is a kind of immersive expression, and also a kind of flashback, using the image of the picture as a basis for a more accurate sketch of the mental image. Of course, this is all based on a personal love of more holistic shapes. Most of these images are inspired by other artistic disciplines with varied materials related to painting, and although these forms are limited by materiality, volume and practical functions, the treatment of the image in these seemingly restricted forms of expression actually activates the creativity of the creators to a greater extent, and has a richer and more varied expression of natural interest. Focusing on the outline, the image modification is closely combined with the power of the external lines, and there are a lot of delicate strokes, which, for me who is concerned about the connection between the shape and the line, has given me great artistic nourishment in my creation.

During the art field trip this spring, I visited the stone carvings of Huo Qubing’s tomb again, which had been many years since the last time I saw them. With the change of perspective, I was still shocked in re-reading this masterpiece by the delicate emotions conveyed in the highly realistic atmosphere. These stone carvings are typical flashback expression, in which the makers are attracted by the potential and power of the raw stone, and find out what he needs from them, and then carve them in according their natural pattern into shape. What we appreciate is the makers’ choice and delineation of the raw stone. The delineation seems to be bold and careless, but actually the sense of proportion and the degree of grasp are very accurate. In the relatively flat raw stone, the line of cutting, with the rhythm of change, is like a large-scale line drawing works; or with a very simple carving skill to express the object, retaining the shape of the raw stone itself, conveying the unique spirit of the object; or with the help of the natural pattern of the raw stone, there is only a localized delineation. Forming of artifact and nature’s great interactive power, these expressions are based on the initial creating intention, and all the measurements come from the grasp of the spirit of the object. This language, presented between the different shapes, quantities, potentials of the raw stone, is not only very moving, but also has a strong sense of painting. Like the empty and the substantive in painting, the lines and blank space vividly awaken the inner spirit of the raw stone. The echo between the handwork and the inner spirit at this moment is also tacit. When we appreciate this kind of work, we should be more concerned about the makers’ abilities to control the integrity of creation, the boldness to make choices, and the delicate expression of inner spirit.

I am touched by this use of varied language to evoke and enrich a chaotic generalized shape, which is also what I have been thinking about and trying to do in my paintings for some time now. The use of the brush to evoke the cut-out shape of a piece of gold foil is also a continuation of these feelings, including the feeling of painting, and is consistent with my previous pursuit of painting, only with a different material. The softness and length of the gold foil do not allow for too much detail and hesitation in the expression of paper-cutting, more of an improvisation, and the form of the picture content varies, and, the aesthetic, more fragmentary, can be more pure, direct communication of the instant feelings, against some contingency, as well as due to the situation. There is a lot of uncertainties in the process, and the natural peeling of the gold leaf will give an unexpected appearance to the shape, adding a bit of wonderful taste to the already natural shape. Ink and color on the gold leaf sometimes disperse, producing a variety of collision, thus how to deal with the handling is a new feeling. This process also mobilizes a lot of romantic ideas. The rhythmic changes of the straight lines and the progressive relationship between languages present a flavor that is not easy to express in painting, but can be expressed in a simple and general way in the cutting. In the unified space of the gold leaf, you can express yourself in a lumpy or dispersed way, depending on the shape you want to convey and the power of the shape. The use of images requires a greater mobilization of your previous nutritional reserves. 

This mobilization is very pleasurable, and the subjects that I choose to express are the ones that I usually like to play with. With your favorite shape or fragmentary or complete cohesion in a point, the blue-sky expression is like a fragment, but you should voice the strong aesthetic feeling, and, on the basis of the shape, as mentioned above, you should outline with trade-offs and reservations, and make quicker judgments and adjustments in your skills between the certainty and uncertainty to maximize the preservation of the fresh shape. Sometimes, over-drawing will cut down the appearance of the shape. How to awaken and how to stop at a suitable point is actually a great test of the initial conception of the image, and it is necessary to fully immerse oneself in the rhythm of the overall presentation and awakening of the creation. This is a fresh attempt at precision and natural expression in painting, mostly done in a compact state, so it is closer to a kind of spiritual materialization, and to the state of ringing-out that I personally like to express. No matter what kind of material I use to express myself, it is all based on my own understanding of the beauty of modeling. I have also adjusted and supplemented some of the customary techniques in my paintings.

马骏

1975年生于天津

1998年毕业于天津美术学院中国画系

现任教于天津美术学院中国画学院人物系

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