最近买到一本法文旧书，专论写作艺术。其中谈到“自然”（natural），引用罗马文豪西塞罗的一句名言：It is an art to look like without art.[能看来浑然天成，不着痕迹，才是真正的艺术。] 作者认为写得自然不是无意识的天赋，而要靠后天的学习。甚至可以说自然是努力的结果（The natural is result of efforts），要靠苦功磨练出来。此话固然不错，但我觉得首先要能体会到“自然”的境界，然后才能望这个境界迈进。要爱好自然，与个人的气质、教育、年龄，都有关系；一方面是勉强不来，不能操之过急；一方面也不能不逐渐作有意识的培养。也许浸淫中国古典文学的人比较容易欣赏自然之美，因为自然就是朴素、淡雅、天真；而我们的古典文学就是具备这些特点的。
开幕酒会：2007.11.15, 18：30展览时间：2007.11.15-12.25展览地点：上海多伦现代美术馆(上海多伦现代美术馆 多伦路27号3F展厅)主办单位：上海多伦现代美术馆
The materialization of art sensibility, which hides spiritual pursuit of art idea, is a narrative form of artist Shi Hengbo, which is to present the most essential art by the plan of nature. In the series of, Shi Hengbo paints playthings of his childhood in rose pink and put them in the environment of green birth land Qin Ling, and explores origin of the plan of nature. There exists a paradox in these artworks. Firstly the paradox is reflected in the realm of constitution.engenders a metaphor of the existence pressure via viscous and massive water space painted by the western method. While the distant frivolous and formless mountain adopts the Southern Sect School method of Chinese classical painting, and expresses the optimistic spiritual character of Taoism. Secondly, the paradox presents in his cultural integration of the plan of nature. For example, in his early works series, he installs the Tang Dynasty style stone lion in the South Pole to protect the last pure land of human. The paradox above can be regarded as an explanation of the plan of nature. Moreover, what has been continued in his series The Plan of Nature, the Chinese aspects of paper flight, boat and bird all underlines a complex of Chinese identity of contemporary art. By now, the paradox of art constitute of Shi Hengbo not only comes from exterior visual form of art but also its interior cultural logic. In all, this paradox is extinct art between ideal and reality happened in artworks of Shi Hengbo.
Xie Aige’s work is trying to illustrate the essence of human nature, getting off all the chains and getting back to the nature, to show the true colors of soul. The works are like building a seemingly lonely castle for soul; however the castle is full of happiness. Within the Chinese Sculpting community, which is a melting pot of many trends – classical, modern and post-modern - Xie Aige is a sculptor who deserves a special place, the sculptures of Xie Aige are very characteristic of her way of life, traditional and modern at the same time, while reflecting her Hunan Province roots, they are shaped in a kind of abstract mould that is yet very modernist. Her creativity is limitless but encompasses mainly women, either sitting in a waiting posture or in faceless freeform groups or playing with a pet. These sculptures are centered on the Chinese women’s condition – somewhat lost between the traditional Chinese culture and the modern requirements of today’s life. Since her beginning, Xie Aige has evolved in the size and shapes of her sculptures but through her evolution, is always consistent with the message she wants to convey through her creations which is about the challenges Chinese women face in our modern world.
Amidst imagesShao Dazhen
(CLAY, BRONZE, FIBERGLASS)
Chinese watercolor, introduced from the West, has been strongly influenced by the British school. However, with our own wisdom and history-long art tradition, we have kept on trying and, gradually, added new features to the western artistic genre. That which gives Chinese watercolor a distinctive flavor is the fruits of applying the concept of freehand brushwork coming from the traditional Chinese aesthetic system. The school of imagery, extended from the conception of freehand brushwork, is our conventional aesthetic principle. Presently well practiced by many contemporary artists of different nationalities, the school of imagery suggests with depth several rationales of artistic creation and interpretation, and also the dialectic relationships between artists as subjects and nature as object, and between artists and their audience. All kinds of artistic creation cannot be isolated from elements of imagery, which represents artists conscious pursuit in exerting fully their powers of creation and imagination. In such artistic creation, Sizhong is one of those who have attained great achievements.
Art is His Life
学术顾问：肖小兰策 展 人：武 树
Art, as an existence form of natural man, employs the plan of nature which contains multiple connotations as the kicks power. The plan of nature in one circumstance means the creator of nature, and also refers to the nature itself. Zhuang Zhou counts the nature as furnace, and the plan of nature as the craftsman to smelt the whole world. Once upon a time when Du Fu in his youth climbed up to the top of the Tai Mountain, he was convulsed in a feeling of eternal endowed to Tai Mountain created by the plan of nature. And who can endure his art exploration and creation with eternal in space and time? Hereby, Zhuang Zhou let himself become a butterfly and then enter his dream of life. But the human, who has thirst for blood, destroys themselves by his instinct. However, resistance to the instinct of massacre stays to art imagination of materialization.
Like many other contemporary artists, Sizhong made his first appearance in the fine arts circles by focusing on representational depiction of natural objects. His earlier representational watercolors presented distinctive sentiment and verve, and thus were well-received in the circles. In spite of this, he did not cease on what he had achieved. Having steadily imbibed elements of abstractionism, Sizhong emancipated himself from fetters of depicting natural objects, and turned to creation of imagery, conveying his feelings, emotions, impressions, and memories. Undoubtedly, watercolor innovation allows of many routes, and taking the route of abstract expression is not all. Representational watercolors have their own space to flourish in so far as they communicate artistic conceptions. Sizhongs later artistic exploration does not necessarily mean that he belittles representational depiction and techniques. It is the internal experiences and impulses in his tasting of and reflecting on nature that motivates him to make new exploration. Moreover, that which inspires his desire of creation is also attributable to his understanding of artistic modernity and his enchantment with the traditional brushwork.
In the artworks exhibition room and studio of Xiamen sculptor Fu Xinmin, his contemporary sculptures and his state of working gave me a great shock. His zest for art creation and the rich accumulation of art materials and creation ideas keep him always in a state of “on the way” in sculpture creation. His sincerity and piety for art and the diversity and prolificacy of his works all make him a unique artist in China’s contemporary sculptor circle. Especially after I got to know Fu Xinmin’s art experience and background of his creation, I am more interested in exploring the answers to these questions: What is the significance of art to our personal life in such a transitional period of China’s society? Is there still any room for the development of artists’ manual handwork in such an age of full of information, images, clone and mechanical duplication? In the noisy uproar that “art is dead”, market is everything, what is the reason for artist to hold his ground and stick to his artistic pursuit and personal value?Some artists’ creation may be directed to the history of art and solving the problems in art history, while for artists like Fu Xinmin, I feel that their art creation is more about exploring the significance of people’s life in the modern society. Their enthusiasm and perseverance for art express a sort of life attitude. Art has become a lifestyle for them. They place their ideals and beliefs in art. In such a spiritual deficient age, they use art as a way to keep a ceaseless dialogue with the world, and in such a process, their art enrich their thoughts and enhance their capabilities of imagination and creation. For the society, the significance of their art creation is they fully show the diversity and possibilities of people’s lives. And their work provides some spiritual topics, an activation of thoughts and optional life wisdom in such a daily materializing society.Fu Xinmin is very sensitive to materials. He has the ability to turn waste material into something miraculous. He can discover the beauty in the daily ordinary things which people usually get accustomed to or turn a blind eye to, and transform them into art. His years of root carving experience trained him to possess a great command of the natures of different materials. He always applies the materials with high proficiency, which is attributable to his long-term contact with natural materials. He has fully understood the texture, nature and expressive force of different materials. The materials he has collected all the way from the past have become a big fortune for him at present and in the future. Wooden material has an indissoluble bond with Chinese culture. Especially in the spatial art. History of several thousand years of Chinese nation has formed the unique aesthetic experience to the wooden material. There is a profound cultural accumulation in Chinese people’s understanding of the relationship of craftsmanship and nature, form and spirit, skillfulness and clumsiness in wooden material. Therefore, although Fu Xinmin’s contemporary sculptures have taken in the concept and method of western contemporary sculptures creation, the Chinese culture root in his works is still so strong and distinct. What is more important is he is not only an artist who is good at dealing with materials but also an artist whose works have rich philosophy, which comes from the nature, the observation of life, and the ancient Oriental wisdom. The states such as conflict, comparison, inserting, parataxis, mutual complementing, conformance and harmony in his art works are the embodiments of artist’s thoughts implied. The sculptor residing in France, philosopher and poet Xiong Bingming once remarked, “There is a kind of spiritual legacy which is not available from the books. It can only be passed down by a fresh person, a living personality, a real life experience, which is the so-called ‘passing heart by heart’ in Zen Buddhism.” This is just what Fu Xinmin is doing. He learns from life, from the tradition, from the West, taking in the strengths of all and forms his own contemporary sculpture art style. To create in life, to live in creation, this is the art life of Fu Xinmin.
NEW FEMALE ART SERIES EXHIBITION:
Confucius prefers freak. Once Zi Gong, a disciple of Confucius enquires about what freak is. Confucius answered that freak is person who are different from secular but accord with nature. Confucius compares the natural person to base person of God and noble one of mans world. For in looks of Confucius, the nature itself is the ways of Heaven which is differ from the ways of Man. The natural development of the strange and odd is the ways of Heaven, while the neat and uniform life order created by man is dangerous for it kills humanity. All this expose man before the ways of Heaven as negligible. Therefore, man hold in awe toward the Heaven. Zhuang Zhou regards both life and death as a natural way of revival, in other words, the plan of nature. Nevertheless, the nature of art is fondness and exploration to man under the plan of nature.
For all artists, two qualities are the most valuable: one is creative invention, and the other professional integrity. Sizhong possesses both. Therefore, there is good reason for me to value highly his current creation and expect as well with unwavering confidence his even brighter future.
――Random Thoughts on Fu Xinmin’s Contemporary Sculptures