武艺 渡之一 198×98cm 纸本水墨 2008
可以把武艺的画称为“现代逸品”。他在画坛为人所重的是他20世纪90军代中期之后的表现,从《夏日组画》、《黄村组画》、《大山子组画》、《丁村组画》一路过来,他的画愈发显露出一种轻松与随意,与已有的传统形式远去,与自己的心性贴近。他自己谈到这些作品时说：“笔墨最终是性情的产物……为笔墨而笔墨,或不断地重复某种笔墨样式,未免显得概念和表面”,只有在“笔墨恢复了它的本来面目”时,才“更接近于直觉和本性”。光看这类文字,很难想见他画的模样。只有把他的画和他所说的结合起来,才能看到他画中显然有自己的“直觉和本性”。
他的作品是在“平平和和、不急不躁”的状态下画成的,既无焦点也无中心。画中的形任意地落在画面,有时候很多向边缘发展,呈零散之状。与这种造型相关的,也更为重要的是他的笔墨趣味。他把墨色控制在灰色的、亚光的色域之内,好像男中音控制了高与低两端音阶,在限制的区域里谋求墨色的丰富性。这种墨色,加上他散淡的、率意的笔法,于是构筑出一个相当平面化甚至有几分“解构”意昧的图景。许多人评他的画“品位”很高,不无道理。
Recommendation
By Fan Dian
Some even praised Wu’s works as ‘modern masterpieces of leisure’, particularly for his works in the 90’s such as the Summer Days, Huangcun Village, The Son of the Mountain, and Dingcun Village, deluxe and free, far beyond the traditional serious type. ‘I’d like not to repeat others and my ancestors’, why should do so? I think I draw for a release of mood rather than anything else,’ said he, ‘and I do my work according to intuition and nature only.’ So exact as he says above you may see from his work as you enjoy them. In all his works you could not find a focus, or any anxiety, but a smooth natural status. Any object on the paper is so fine line to his environment that seems to fit for living there the most. The major color is gray and sub optical color, like baritone that is limited within alt and bass. His stroke is free, which form a reconstruction-sense of image. Some critic criticizes his pieces for his excessively high taste that could not entertain common audiences, and I think the criticism is on a right way.
【编辑：姚丹】
