森·山方Sam szafran是我的老师、朋友。也许我们太接近了,反不知从何处开始谈他。本着从“文本”出发,想选他一两幅作品来分析,我怕一旦走入其中,没完没了。况且,一件作品的真实,只有在它的整个存在中才显现出来。从“存在”我想到画家本人,想到他离开了抽象绘画之后所作的选择。60年代初,森·山方放弃画抽象画,重新选择画具像画,他曾回忆说:“那年头,大家都在绕圈子,做蠢事;满脑子是主义(isme)、流派(ecoles),为此而喘息,精神混乱不堪。这正是我们这一代人作为画家迟熟的原因。”“当我离开抽象画时,他们反说我脑子有问题,也许是吧,记得那时,我跑遍全巴黎,想找一 Sam Szafran is my teacher and friend. Maybe we are too close, I do not know where to start talking about him. From the “text”, I would like to choose one or two works to analyze, I am afraid once inside, endless. Moreover, the truth of a work is revealed only in its entirety. From “Being” I think of the painter himself, thinking of the choices he made after he left abstract painting. In the early 1960s, when Sen Shan renounced drawing abstract paintings and re-selecting painting images, he recalled: “In those days, everyone was circling and doing stupid things; isme, ecoles, This is the reason for wheezing and chaos, which is why our generation is late as an artist. ”" When I left abstraction, they were telling me there was a problem in my mind, maybe, remember that time, I traveled All Paris, looking for one