物言·墨语——彭震中水墨作品展
前言
在传统与当代之间,在过去与未来之间,中国当代水墨介乎于其间,作为一种相互关联而又独自存在的艺术表现形态,关注并以现代性的水墨语言来表达社会的历史与当下的状态。
而彭震中作为当代水墨艺术家的一个代表,他的作品有着与传统水墨不同的空间意识和结构方式,他以非逻辑性的表现方式和非叙事性的意念表达,将中国画引入一个与当代社会生存状态共存共鸣的文化语境。他的作品绝大部分表达的是他自身最关注的或者是他觉得最有意义的事情,从精神追求上保留了中国文化的精神内涵,从而使得作品能在广大受众中产生共鸣,其作品“复归于朴”的表现性与思想性对于观众而言则显得亲切而自然。
艺术是允许偏执的,而这种偏执的创造是建立在对前者的突破之上的。能够在艺术创作中找到一种唯“我”所用的艺术语言去表达对生命关注的人,必定是一个艺术和生命都极为生动的人,也唯有如此,艺术创作才具有意义和价值。
Foreword
Between the traditional and modern times, the past and the future, Chinese contemporary ink art exist as both an interconnecting and an independent artistic form, which paying close attention to present state and the history of society and expressing those though modernistic language of ink.
As a representative figure of contemporary ink painting artists, Peng Zhenzhong’s work showing a sort of consciousness of space and structure which is different from traditional ink painting. He brought Chinese painting in a cultural context that coexist with the contemporary social condition though his illogical and non-narrative manifestation mode. For him, the subject of most works are desinged to express those meaningful things and issues that should be concerned. Due to his spiritual pursuit, Peng Zhenzhong retained the connotation of Chinese culture, so as to make the work viable to produce resonance in general audience. The ideological and performance of “ back to basic” in his work considered as an easy and spontaneous characteristic to the audience.
Paranoia is allowed in artistic creation, and this kind of paranoid creation is based on the breakthrough of the former. He who could find an individualized artistic language to express his passion for life must be the one that enjoyed a vivid life and artistic creation. Only in this way, artistic creation would become much more significant and valuable.