传统与当代的空间架构——曾成钢

传统与当代的空间架构

曾成钢 中国美术家协会副主席 中国雕塑学会会长 清华大学美术学院教授

青年雕塑家潘松近年来佳作颇丰,令人欣喜!

潘松经历了中国众多青年艺术家共有的身心历练,在完成了学院教育的系统修炼后,在东西方文化激烈碰撞的当下,殚精竭虑,刻苦钻研,其作品《霓裳》系列逐渐形成了自己的学术面貌。该系列作品缘于潘松在北京服装学院的任教,每天出没于时尚文化的前沿,在T 形台的走秀与现实感悟中,他理所当然地进入了自己独特的创作思考领域。但《霓裳》系列并未止步于现实审美的再现,而是以浪漫主义的表达方式在现实与幻境之间编织着个性化的霓裳之梦,充分调动比例、材料、肌理、色彩等造型语言,阐释独特的审美追求······其《霓裳》系列为代表的架上雕塑逐渐被人们所接受。

在光怪陆离的当代文化乱象与诱惑面前,潘松恪守着自己的价值取向与特有的定力,他在公共艺术的创作中,将另一架上作品《朴》系列推向了公共空间。这一系列作品源于潘松在当代文化思考中,强调横向与纵向的交叉思维,其对中国传统文化元素的痴迷、感悟,使之在传统与当代之间,实现空间架构,而潘松在长期的临池挥毫间,感悟到中国文字所传递的信息符码及抽象意义,将西方现代艺术的构成主义、东方的文字信息、建筑与文字的架构关系,有机结合,创建了全新的空间视觉语境。在其作品中,使人感受到久违的汉唐之风扑面而来,传递着中国文化的生命精神与哲学思考。

潘松今后的艺术之路还很长,我希望他在这条探索艺术之道的旅途上越走越深远!

Bridging the Gap between the Ancient and Modern

Zeng Chenggang,

Vice President of Chinese National Artists’ Association

President of Chinese Sculpture Institute

Professor of Academy of Arts and Design, Tsinghua University

It is amazing that the sculptor Pan Song, though young in age, is fertile in creation.

His adventure of mind is much akin to that of his Chinese peers. Years of academic education and current culture shock between west and east have spurred him to be devoted to his creation. Gradually, “Ni Shang” or “Rainbow Fashion” series emerged with their unique outlook, which is interwoven with his career. Teaching in the Beijing Institute of Fashion Technology enables him to get access to the front of fashion culture; thus, frequent switch from runway shows to daily life naturally nourishes his soul and inspires his creation. However, “Ni Shang” or “Rainbow Fashion” series are not merely to reproduce reality in an aesthetic way, but to interweave in a romantic way a rainbow-like dream with the sculptor’s personal perception of reality and fantasy, taking full advantage of such sculpture languages like proportion, materials, textures and colors to interpret the sculptor’s peculiar aesthetic pursuit… In this way, his shelf art works represented by “Ni Shang” have become understood and accepted.

Faced by a kaleidoscope of dazzling cultures and various temptations, Pan Song sticks to his value orientation unswervingly, giving birth to his public art creation with “Pu” series as the representative. Reflecting on the contemporary cultures, Pan Song lays emphasis on adopting a thinking mode both laterally and vertically. His passion for and perception of traditional Chinese culture enables his to bridge the gap between the ancient and modern. Years of practicing Chinese calligraphy have inspired Pan Song to perceive the coded information and abstract sense of Chinese character. Gradually, Pan Song has invented a brand-new visual language by integrating the constructivism of contemporary Western art with information conveyed in Oriental characters and by building up relations between constructions and calligraphy. What involved in his works is a sense of long-lost style dominant in Han and Tang Dynasties, embodying the spirits and philosophies of traditional Chinese culture.

A young sculptor groping his artistic way step by step, Pan Song spares no effort to make breakthrough in his creation. I sincerely wish him a great success.

Comments are closed.