傅榆翔
多年前的一个傍晚,我经过朝天门码头，一家餐馆门前拴着一只待杀的羊,当我经过它的面前的时候,便发出格外凄惨,哀绝的叫声,似乎是叫我救它,当时我动了买下它放生的念头,但现实是：在这水泥森林的都市里又能将它放去那里?走过那家餐馆一百米外仍能听见声声哀鸣,那是震颤我心灵很猛的偶遇。至今仍索绕于心不能忘怀。
时常有白日梦的幻觉，看到动物是人，人又成了动物，天空变成土地，水又成了蘑菇云,一切物象与时空终究成了梦幻泡影。弗洛伊德说：“梦，不仅仅是对现实生命的折射，同时也是对未来生活的精准预言。”近来英国科学家协会联名上书英国议会，提请为二0五0年人类与机器人通婚立法。DNA生命破译，老鼠，猴子等动物的基因与人类相差不过百分之零点几，我们可以克隆一只羊，一头猪，在实验室解剖、化验所有的有机生命，但我们却不能创造生命，或许人类能从遥远而偶然的一缕毛发中再生绝灭的恐龙，其实恐龙并没有灭绝，物竞天择早已将它进化成为带翅膀的鸟，并一直伴随生活在我们身旁。
其实，生命总是在失根中飘移，全球性移动和人类与动物的游居已是现实的必然。虽然我们永远不能把观念和设想预植于艺术创作中，但不由自主地在创作中激活了诸多那些沉淀和过滤的感慨，《天空没有回音》，《游山玩水》，《回声》等系列创作以马、鸭子、羊、猪、船、潜水者、宇航服、云、水、雾、不确定的土地等视觉元素来塑造、呈现,在画面的架构中更多倾向黑白写实性语言方式的再展开。在营造相对真实的感觉中,有些琐碎局部细节的刻画是想让观者有所触动,甚至惊悚,在视觉上造成突兀,诧异的张力,以此引起内心的颤栗,平和或紧张的情绪。
天空是所有生命的布景，大地是所有生命回归的终点。因此在这系列作品中一方面呈现出象征与隐喻性，另一方面也试图消解油画与水墨的油水不相溶。当完成这组超现实的系列作品时，其实人与作品亦被现代叙事精神所激活。艺术家精神在场的根本处境，绝不是简单地复制世界的外在面貌，而是有效地参与到精神世界的建构之中，并发现它的内在秘密。
正是这一刻,我骤然看到,在已经被发现的秘密之中,人类精神面孔上焦虑的皱纹正在疯狂蔓延。
2008.2.28
重庆501工作室
Reactivating the Spirit of Universe
by Fu Yuxiang
It was an evening years ago when I passed through the Chao Tian Men dock that I came across a sheep tied before a restaurant, waiting to be killed. When I passed by, it uttered an extraordinarily mournful and desperate cry, as if begging for my rescue. By an instant I got the idea of buying and freeing it, but this is the fact: where is its shelter in the concreted metropolis? Even a hundred meters away from the restaurant, its grievous whine could be heard. It was an encounter pricking my heart deeply and still lingering in my innermost.
I usually have illusions like something of a daydream, in which animal takes up the form of human while human of animal, sky turning into earth while water into mushroom cloud, all vaporizing like bubbles in the end. Freud ever said, “Dream is not only a reflection of the real life but also an exact prediction of the future.” Recently the British Scientists Association appealed to the parliament for legislation of marriage between human and robots. By the interpretation of DNA, we found that the gene of mouse, monkey, etc. differs little from that of human being. We have been capable of cloning sheep and pig, anatomizing and experimenting on all organic life in the lab, but we still can not create it. Perhaps we can rebirth the extinct dinosaur from a thread of ancient fur found incidentally，but in fact, the dinosaur hasn’t been extinct yet, for it has evolved into a winged bird by the natural selection, accompanying us all the time.
Actually, life is always floating rootlessly. Worldwide emigration and migration of human and animal has become a real necessity. Though we can not implant our concept and assumption into artistic creation, we do have activated those deposited and filtrated sentiments unconsciously. My series of paintings such as Silence in the Sky, Travel, Echo, and so on, mold and present themselves by some visual elements like the horse, duck, sheep, pig, ship, diver, spacesuit, cloud, water, fog, indefinite land, etc. and these paintings mostly adopt the plain color of black and white. By making up a relatively real feeling, they intend to move or even shock the spectators by some trivial details. Besides，they try to arouse a heart quake or a wild or nervous mood through a sharp and shocking visual tension.
The sky provides a scene for all lives while the earth for their end. Therefore, these works, on one hand, present themselves symbolically and metaphorically, and on the other hand, effort to compromise the indissovableness of oil painting and wash painting. When these series of super-realistic works were completed, I was also activated by the modern narrative spirit. The essence of the presence of artist’s spirit is, by no means, a simple replication of the world’s appearance, but an active participation into the construct of the world’s spirit and an exploration of its interior mystery.
It was at this moment, in the known secrets, that I suddenly noticed the anxious wrinkles spreading crazily on the face of human spirit.
Feb.28th, 2008
501 workhouse, Chongqing
