|
也即，他的視覺呈現，不再是寫實技術的那種“自然視域”，而是帶有數位化的“主觀視域”。這種轉變，具體到畫面則表現為：焦點透視感的體積，被轉化為平面閱讀感的體積；局面描寫的空間性，與整體描繪的拼貼性相互結合；層層積染的色彩厚度與細節變化，被整合為一種視覺上的平展性。諸多的熒屏經驗、數位經驗，在修正寫實技術背後的“肉眼世界”的同時，也使得劉志懿的作品在感官上凸顯出全新的視覺編碼方式。而這種編碼方式的改變，不僅實現了架上繪畫的語言轉換，同時也實現了視覺觀看方式的轉變——以新視覺編碼顯現我們觀看世界的新經驗。對藝術而言，這似乎比提供新的視覺形象更具意義、價值，因為它向我們展現出不同於古典藝術的真正趣味：藝術不是再現某種“自然”或“觀念”的簡單載體，而是提示我們重新認識世界的“視覺手段”，是需要我們“自覺”于視覺存在的認知手段。
然而，作為觀看、審視作品的人，我不能確定創作者的預設是否與我的判斷相統一。正如，我無法判斷劉志懿的作品出現上述感覺，是源於一種主動設定，還是某种經歷、興趣的偶然選擇。但是，這似乎並不重要。因為藝術史的書寫，更在意于一個藝術現象呈現的歷史背景，以及它在歷史邏輯中的形態，抑或觀念上的演進，而非藝術家自己的主觀設定。就此，作為劉志懿的同年人，我更希望能夠從他的作品中讀出我們生存經歷的某種共通性，並因為這種共通性而理解當下正在發生的現象。很顯然，劉志懿的創作給我們提供了這種可能性：他在真實與虛擬之間遊走的主觀體驗，向我們提供了某別具價值的觀看經驗——關乎70生人的生存感受、關乎數位時代的視覺邏輯、關乎架上繪畫的語言轉換……
2011年3月6日于望京
Virtual, or Real?——“Visual Viewing” of Liu Zhiyi’s “Encyclopedia of the Emperor”
Hang Chunxiao
Successfully changing the real experience of a college education into a digital experience is a special point of 1970s’ artist Liu Zhiyi. Because of this, his painting gives us a different sense of illusion: building real “senses” in a virtual world. Here, “sense” is not referred to a vision biologically, but a historical “viewing” and “expressing”, that is, a method relating to space, structure, volume, color and brushwork formed in the visual experiences of art history. Without doubt, Liu Zhiyi learned this from his education at Central Academy of Fine Arts and has a firm handle over this in the creation of his paintings. Take for example the “Encyclopedia of the Emperor” series created in 2005. Although these works describe the virtual world, the visual language is “precise” and shows a strong sense of “reality” in spatial expression. As a result, Liu Zhiyi uses a “harsh” realistic method to create a visual deception: the “virtual” of image narration and the “real” of visual representation consist of a kind of sensory paradox.
Paradox always brings “chaos”. But the question is—the world is not as logical as we experience it in our daily life, therefore there is always a certain “depth” in paradox. I am not certain why Liu Zhiyi chose to create a visual paradox. Is it because of his academic background or the result of his love of science fiction and digital things? As an individual living in the same era as him, I could feel the “viewing world” suspicion through this kind of visual paradox. That is, a suspicion, denial and asking of “cognition” as we usually know it by. Just like the real visual details in his paintings, the realistic state is virtualized and the virtual becomes real. Hence, Liu Zhiyi’s paintings present an illusory uncertainty.
|
