陈勇劲艺术简历
1972年7月生于中国武汉。中国美术家协会会员,湖北省美术院水彩画创作研究室主任,一级美术师。
艺术家自述
画画对我来说只是一个职业,与吃饭、睡觉、过日子并行成为生活的全部。对于70年代生人,我所面对的时代变化太快、太杂乱,回想起以前受到的教育和现在看到的社会,有许多费解和矛盾的地方,时间一长就觉得无计可施,只能冷眼旁观。毕竟在强势的苛责下,总显得无能为力,只能退守到绘画中、书本里,企图用作品小心翼翼的禅述艺术的力量;同时,艺术也成为了能获得精神拯救的方舟。
有段时间总在怀疑自己摸索的方向是否正确,于是四海游访,试图通过观看和解读来证明之前的绘画。回到工作室,发现这次的举动是对的,一旦重新拿起本土文化时,才能体会到我骨子里与他的共振,此刻将怀疑更正为坚定。其实,这个时候的繁杂,以及自己的费解成为了创造资源,只是在其中如何选择和如何回避;同时,时下的社会空间有弹性,能让艺术家独立和自由的完成工作。
我还是在创作的同时观察周围的人和事,停下笔也经常发发呆,期望能在那些不相干的事态中找到联系,或者是揣摩发生的原因。得到答案很难,总是模糊不清,也希望在其他的途径里抓住些支撑的解说作为救命稻草,结果还是那么的玄。看来,这就是现状,勉强不好。画好手边画,这是本分;想想身边事,那是态度,这句话是谁说的,想不起来了。
Born in July 1972 in Wuhan, Hubei Province. He is a member of China Artists Association, the Director of Watercolour Painting Research Studio at Hubei Provincial Academy of Fine Arts. He is also a grantee of the title of National First-Class Artist.
Artist’s Statement
Painting for me is nothing more than a vocation which makes up a life, together with eating, sleep and living the family life. Over the times, things have been changing too quickly and too disorderly, and generating too many confusions as well as contradictions, which, for a person who wasgrown up in educated in and since the 1970s , are impossible to pass through at once at the same pace. It turned out that, even time-consuming doesn’t help at all. I realized I would never be able to keep myself up to date, so I decided to just stand aloof. Rather than embarrassing myself in the powerlessness declared by the mighty aggressive forces, I withdraw myself into painting and reading, with which I can demonstrate another power, the one of art, even though I have to be careful when I convey it. Thus, it returns to me a Noah’s ark which saves me from spiritual sufferings. On the way to be free, I was once sunk too deep in self-doubts whether my direction was right or not to move forward. Then I decided to travel far and wide into paintings by others, so that, with which as mirrors, I could reflect over my own paintings I made in the past. It ended up to be a right decision. After I returned to my studio from the traveling, I became interested in the cultures where I was raised up and I felt the electrifying vibration. Thereafter,I was no longer hesitating but determined. Moreover, the complicity and confusions which had been a suffer are now a rich source for creation; and the problem is now what and how to choose and to avoid. Also, at this moment, the society allows enough flexibility and room for artists to carry out their work dependently and freely. Still, people and happenings around me attract my attention; still, from time to time, I find myself swaying away when I take a break from painting. I try to find connections among happenings seemingly irrelevant with each other, or to ponder and figure out their causes. Answer is always ambiguous. Besides, I also made attempts to find support within other forms of interpretations on life, but they turned out to be too mysterious to be convincible for me. This might be how the so-called “status quo” rules and it is not fine to force to change its tune. Committing to paint best painting possible is a response to duty, while paying attention to what happens around is an attitude of mind, said someone who I forgot the name of.