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缪晓春作品自述:

新旧媒介

用新的媒介做艺术作品,其表现形态与传统艺术媒介肯定是不同了。我想,新旧媒介之间并非是你死我活、非此即彼的关系,也许可以有更深层意义上的传递与继承。我可以用数码手段去回应艺术史上曾出现的一定形式,有些许相似之处,但它骨子里又是截然不同的了。

比如,我一直想画水墨画,但一直未找到一种形式,现在找到了。利用数码水墨的方式,我可以把极其精确的描绘和泼墨写意的手法结合在一个画面里。以前如果要精细描绘,则必定会选择绢或熟宣纸,这不利于写意;如果选择写意画法,则会选择生宣纸,这就意味着无法用细如蚕丝的线条来描写物体的轮廓,熊掌与鱼不可得兼。现在则可以在两者之间游走,这是很令我兴奋不已的。

更令我兴奋的是,这种可能性还可以不断继续。需要的只是时间和精力,还有足够的热情。


三维数码水墨

对线条的痴迷也许源自于中国传统绘画。虽然几乎所有民族的艺术都经历过用线作为主要表达手段的阶段,但似乎中国的传统绘画更强调线的无与伦比的表现力,因为它是如此简洁但又如此本质地表达出了世间万物。

自二零零五年以来的三年多的时间里,我天天面对电脑,看着助手们用三维软件制作结构线建起一个个三维模型并用这些模型构造一个三维虚拟世界,由点构成线,由线构成面,再进而渲染成看似真实的物体。有一天我想,何不直接用这些结构线来创作一件作品呢?这些结构线描述的是物体的外轮廓,非常本质,又极具形式美。尤其让我兴奋的是,我可以将这些数据打印在宣纸上,获得一种类似传统线描的美感,但又不是用传统的毛笔和墨,而是用现代的打印机和喷墨。

与传统线描的不同之处在于:传统线描只是描绘看得见的某一部分物体的轮廓,对于看不见、处于背面的物体则不去也无需描绘。

由于软件与电脑计算的方式所致,所有物体的轮廓线都会被表现出来,哪怕这些轮廓线在背面,哪怕它被某个物体所掩蔽,这便使画面具有了某种透明立体的效果:即使人物头像处于侧面位置,观众也一定能够同时看到两只眼睛,而不仅仅只看到一只眼睛。这颇有点立体主义的味道,很能让人想起毕加索把两只眼睛画在一个侧面画像上的理由,只不过在电脑和软件看来,这是再理所当然不过的事情了,无需任何理由与主义,而是一种必需!

于是传统线描的美感、上世纪初的立体主义、本世纪初的技术手段不期而遇,碰撞到一起!


素描

素描原是用来研究自然形态,研究画面构图等等。基于此,它表现出某种即兴性和不完整性,经常在正式作品完成之后便会被丢弃。只是到了现代,我们慢慢意识到,它也可能成为一种独立的表现形式。

在我这儿,素描已经没有功能上的必要,而只有表现上的必须。既然面对自然世界我们可以画出一张素描,那么面对虚拟世界,我们也可以画出一张素描,只不过这个过程是逆推出来的。每张素描都带有电脑工作框,表明这是先在电脑中成形,之后才画成素描,而不是先画素描,然后才成形。这使得我的素描与传统意义上的素描截然相反,虽然它们在表面上使用了相同的工具---钢笔或铅笔。

刺绣

用三维软件做作品时,首先面对的是网格线,由线来组成面。为了区别不同物体,分别用不同的颜色显示。这些五颜六色、色彩斑斓的网格线天天在我眼前晃悠,尤其当几种色彩的线条重重叠叠交织在一起的时候,它像极了刺绣。有一天我终于下定决心,把它们用传统手工刺绣的方式固定下来。

我不知道电脑已在多大程度上取代了手工,但最起码,我在这些刺绣作品中用这种方式使得电脑与手工紧密合作了一次。只是辛苦了刺绣女工,要把电脑生成的网格线全部绣出来,那是非常耗费时间与精力的。

雕塑

既然我的工作全都是用三维软件完成的,那就意味着只要寻找一个合适的输出手段,它们就会从虚拟的三维形态变为真实的三维形态---也就是传统意义上的雕塑,这就是立体打印技术。原本设计为工业建模之用,我想也完全可以用于艺术。

它的迷人之处我尚未全部发掘, 但我知道这是绝对值得花力气去实验的。


Statement by Miao Xiaochun:

Old and new media
The expression form of works done by new media is different from that of traditional ones. I think the relation between the traditional and new media is not necessarily that we have to choose one against another, but there could be inheritance and further development. I can reproduce a form in the art history by digital means. Outwardly, there may be some similarities between the two, but inside they are worlds apart.
For example, I am always interested in Chinese ink painting, but I didn’t find a way to work it out in computer until now. By digital ink, the Chinese ink painting features both delicate drawing and freehand splash. Previously, delicate drawing required thin silk or rice paper with alum coating, which is not good for freehand splash; splash brushwork, on the other hand, chose unprocessed rice paper, on which you are unable to outline the object with exquisite lines. You can not sell the cow and drink the milk. The digital ink, however, makes that possible, driving me excited.
What makes me even more exhilarated is that this possibility can go on continuously. .It only requires energy, time and enough enthusiasm.

3D digital Ink and Wash Painting
My obsession with “Line” is perhaps rooted in the high regard I hold for traditional Chinese painting. Nearly all the collective art experiences from around the world have at some point gone through a stage in which “line” constitutes the dominant form of expression. However, with traditional Chinese painting it seems that far more emphasis is placed on the incomparable expressive power of the line, because it is at the same time so concise yet it can eloquently express the essence of anything in its totality.
For the past three years since 2005, I have sat in front of my computer every day, working with my assistants using 3D software to build models and using all these models to construct a 3D virtual world. Points are connected to form a line, then lines to form a surface, and then the whole thing is re-rendered into a seemingly real object. Then one day I thought ‘why not use the lines directly to make an art work?’ These lines depict the contours of an object’s fundamental shape and also reveal the beauty of form. I am particularly excited about printing these lines on Xuan paper in order to simulate the beauty of traditional line drawing, but achieving it with a modern inkjet printer and ink instead of using a traditional Chinese brush and ink.
3D drawings differ from the traditional line drawings because the latter depict only the visible aspect, as it would be seen from the viewer’s perspective. Anything that is obstructed from view or not directly in the viewer’s line of sight is not necessarily shown. Whereas objects in 3D line drawings are, in effect, transparent as the viewer can gaze through them to what is behind them.
Because of the nature of software and computer calculations used in 3D drawing, all the contours of the objects are visible, regardless if they are at the back of an object or concealed behind other objects. This yields a transparent and three-dimensional appearance. Even with a face in profile, viewers will be able to see both eyes, not just the one on the side of the viewer. This, in a way carries a taste of Cubism, reminiscent of Picasso’s paintings, portraying both eyes on the same side of a profile portrait. But for computers and software, all this is just a matter of course; there is no requisite reason or –ism, it is purely something essential.
The beauty of traditional line drawing, Cubism from the early last century and technological wonders of the 21st century encounter unexpectedly, running into each other!
Drawing
Originally, drawing is a study of natural form and structure. In that case, the improvisation and incompleteness of drawing will be discarded after the work is done. Nowadays, however, we come to realize that drawing can also be an independent expression.
In my work, drawing is only necessary in expression instead of function. Now that we can draw a picture facing the natural world, we can do the same in the virtual world. The only difference is that it is a process of retroduction in the latter case. Every sketch has a computer diaphragm around it which indicates that the image is formed in the computer before being drawn, so that my drawing is opposite to the traditional ones, despite of using the same tool- a pen or a pencil.

Embroidery
When 3D software is used to make a piece of work, the first step is to form a surface by gridlines. Different colours distinguish various objects. With colorful gridlines changing before my eyes, especially when lines of different color lap over each other, the image is just like the embroidery. One day I made up my mind to fix the variably colored gridlines in accordance with traditional forms of hand embroidery.
I am not clear to what extent has the computer replaced handicraft. But at least in the above way, my embroidery combines the computer with handicraft. The work is quite time-consuming and energy-consuming, because the women workers have to embroider all the gridlines generated by the computer.

Sculpture
The fact that all my works are done by 3D software means that, with a proper output way, all virtual 3D forms can become real—the sculpture in traditional meaning. This is 3D printing technology, used to be applied to industrial modeling, which I think can also serve arts.
I did not discover all charms of this idea completely yet, but I am convinced that it absolutely deserves further experiment.
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