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我们从马洪彦的画面语言中几乎看不到记忆存生的逻辑。那些图像的叙述方式、观念所呈现的潜在象征以及莫可名状的现场感却留给观者一种高级的印象:可以有很多种经过的方式,而我们从这里出发,然后也终将回到原点。魂游的架势一件美术作品,可以是具象的,也可以是象征性且不辨具体形象的,但都不改其宗,仍然是实际形象的变体。它在时间流逝的整个过程中持续不断地复现并置换着对于已有效果的理解,它的语言不断建立并完善艺术家自身与外界沟通的桥梁。我们在马洪彦的画面中捕捉到一种幽冥懵懂的混沌状态,同时也体会到一种极为安静的
We can hardly see the logic of memory from Ma Hongyan’s pictorial language. The way in which these images are narrated, the underlying symbols of ideas, and the uncanny sense of the scene gives the viewer a high-level impression that there are many ways in which they can go, and we start from there and will eventually return origin. Soul swim posture A work of art, can be a figurative, it can be symbolic and does not distinguish a specific image, but do not change the case, is still a variation of the actual image. It continuously reproduces and displaces, in the course of its passage of time, its understanding of the effects that have been made, and its language constantly establishes and improves the artist’s own bridge with the outside world. We capture a nephew of chaos in Ma Hong-yan’s picture, as well as a very quiet