蒋多多| 盛夏开放日 | 东山的星尘 – 王戈作品展 8月5日-艺术8

蒋多多艺术8
王戈
艺术8·盛夏开放日
YISHU 8 Porte ouverte
2018年8月5日（星期日）16:00-19:00
August 5th (Sunday) 2018,16:00-19:00
北京最炎热的午后
来艺术8在东山的星尘下
与艺术家王戈一起
感受心中的宁静与清凉

同期展览：东山的星尘 – 王戈作品展
On-going Exhibition:Stardust above hometown – Wang Ge Artworks
展览地点：艺术8（北京市东城区东皇城根北街甲20号）
Venue: YISHU 8 (No.20 Jia, Donghuangchenggen Beijie, Dongcheng District, Beijing 100010)

东 山 的 星 辰
王戈
这些如明信片大小的绘画作品大多诞生于我曾经的办公桌，彼时我刚刚从法国留学回到山东，在一个大学里开始我的教师生涯。按学校规定需要有一年的时间每天上班，并在办公室里协助处理文秘工作和担任学生辅导员，其实工作的实质性内容并不多，但还是要每天坐在那里，名曰“坐班”。于是我每天早上六点多就出门乘公交车，汇入城市早高峰的洪流，为的是在八点之前赶到学校而不迟到。这在当时的我是完全陌生的生活经验，之前一直过着散漫的所谓艺术家生活，也在“远方”居住了很久，突然接了地气，连早餐都从咖啡果酱牛角包变成了豆浆大饼茶鸡蛋，所以一时间还没适应，非常恐慌。这种恐慌让我思考在那方小小的办公桌上除了装模作样地对着电脑以外还能干点什么，于是我买来了明信片大小的画纸和一盒小小的水彩颜料。
每天处理完工作以后我就塞上耳机，铺开小画具开始“神游”。那时候看了很多宇宙星云的图片，现在想想很好笑，可能潜意识里觉得那才是最远的地方吧，遥远到我永远也不可能到达那里，所以很迷恋那深邃又变化多端的色彩。当时也看了很多奇石的图片，觉得有些颜色艳丽的结晶体与宇宙深处星云的色彩很像，想用水彩去追寻那种深邃的感觉。我用很多水沾满颜色画下一个形状，然后再往里面注入不同的色彩看它们发生神奇的反应，有的是等一层干了再叠加一层，很多层后颜色渐渐浓郁了起来，直到像一汪深潭才满意。
一段时间以后我就有了很多张画了各异形状的小纸片，但觉得只有这些形状又不够完整，就加了一些几何形的线，大多是金属色，想跟水彩的材质上有些对比，也想通过这些线条造成空间感，并给画面一个秩序。我总想在感性和理性之间取得某种平衡和折衷，在很多作品中都有这样的考量。
那些无法构成一幅完整画面的形状我就把它们用剪刀沿边缘剪下来放进了一个盒子里，两年以后，联同我另一件拼贴作品剪下来的纸片边角料，构成了一系列册页上的拼贴作品。为什么用册页呢？可能是因为回到了山东，整日浸淫在中国传统书画的环境当中，自觉不自觉的想要在作品里加入一些“传统元素”，另外也很喜欢册页这种打开后每一页与其后一页的对话和延续，这样一页一页的翻下去，上面那些拼贴仿佛就有了某种逻辑和连贯性。我又仿照中国传统绘画中的题诗，在册页里加入了一些即兴的字和词语，好像音乐篇章中的几个重音符，偶尔冒出来与拼贴的形状形成呼应。这些只言片语应和着拼贴的节奏，反正是在我心里唱成了一首歪歪扭扭的诗。

Stardust above hometown
Wang Ge
Most of these postcard-size paintings were done on the desk in the office of the university where I taught soon after finishing my study in France and returned to Shandong. I had to “zuoban”, meaning “keeping office hour every work day”, helping with office work and student affairs, as the university required of new teachers during their first year of service. As a matter of fact, there was not much to do in the office, but I had to be there throughout the week except on weekend. Those days, in order to arrive on time, that is, before 8 o’clock, I left home as early as six and pushed all my way through in the rush hour. This kind of life was totally different from my previous one, the so-called “undisciplined” life of an artist. Having stayed in a “far away land” for quite some time, I was plunged back to a down-to-earth life again - even coffee, marmalade, and croissants were replaced by soybean milk, pancakes and tea-flavored eggs for breakfast. Gripped by such a shift, too abrupt to adapt to, I was forced to think about what else I could do at the office desk except make believe that I was working on the computer. Then I bought some postcard-size drawing paper and a small box of watercolor.
Then every day, after the office work, I would put in earplugs, take out all the small paraphernalia - my mind began its “voyage”. I saw quite a lot of pictures of the cosmos and stardust those days - maybe deep in my subconscious world, they are the remotest - kind of funny. These places, too faraway to reach in my life time, fascinated me with their deep and variegated colors. I also got some pictures of stones, whose colorful crystalline looked like the interstellar cloud. This kind of profoundness was what I needed for my painting. I saturated the brush with water and then watercolor to draw a shape in which different colors were put to produce a miraculous effect. After it got dry, sometimes several more layers were added to enrich the color until it looked like that of a deep pool.
After some time, I had in my collection quite a lot of cards with all kinds of shapes. Those shapes, however, looked inadequate to me, so I added some geometric lines, mostly of metallic colors, wishing on one hand to contrast with the water color in texture and build a sense of space and order on the other. Such a pursuit of balance and compromise between sense and sensibility was the keynote of my works during those days.
Those shapes that could not be pieced together to form a complete picture were cut out and put in a box. Two years later, they joined the off-cuts from another collage of mine to make a series of collages in the painting albums. Why painting albums? Maybe in such an environment as Shandong where traditional Chinese painting prevailed I naturally added “something traditional” without knowing it. Also I liked painting albums for the connection between pages that could string the collages with logic and give coherence. Then in the fashion of accompanying poetry in traditional Chinese painting, I added some improvisational words and expressions to echo with the shapes of the collages, just like grave accents in a movement. Anyway these scattered words and expressions, in concert with the collages, have become my poem - a clumsy one.

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