美好生活就此展開 The Beginning of Good Life

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文人破格—與鄔一名談水墨 安卓藝術：2012 年在香格納畫廊的個展「無關時間」標示了您個人藝術生涯 的一個重要轉折。除了過往對視覺美感的考量，您有意識地注入個人思辯， 反映了您個人生活於當下社會的狀態以及所思所感。安卓藝術「美好生活就 此展開」是繼「無關時間」之後，您於畫廊空間的首次個展，請您談談這段 時間的創作脈絡。 鄔一名：我是一個反應比較緩慢的人，80 年代中國當代藝術風生水起的時候， 我沒有太大的感覺。到了 90 年代才開始認知當代藝術，有了這方面價值觀 的判斷。當代藝術比較不一樣，針對性和我們現在的生活比較有關聯。

書畫是個講求典範的傳統，一棵樹呀，一塊石頭怎麼畫都是有定式的，這樣 的系統學下來，難免對思維產生一定的限制，我個人認為，我們很難超越古 代人畫的東西。像我這樣的做法，就是逆著做。大約是 2004 年，我覺得我 之前的人物作品，在表達上還是太表面了，於是我慢慢想要找尋一種比較有 厚度的表述，不要太直截了當。中國人原本就比較含蓄。當然有些藝術家直 接了當也可以做出很有力的作品，我也很佩服他們，但那比較不符合我的風 格，所以我想我就 …… 含蓄點表達吧。 我在概念上是反對文人精神的，我反對的是它在社會上作為一種菁英的意 義，文人畢竟是皇權的附庸，從古至今就缺少獨立人格。但另一方面，文人 個人對生活、生命的體驗這方面我是認同的，放在現在來看吧，又變成一個 比較好的理念，就是環保的理念，也是一個長壽的理念。

安卓藝術：身為一位受過中國水墨傳統訓練的藝術家，您繼承傳統的同時也

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背離了傳統，例如題材的選擇、大膽的用色、以及筆法上刻意的不順暢、甚

方法吧！創作對我來說是比較痛苦的，所以可能會用很多深色背景。我想這

至粗糙的效果，使得最後的畫面深具現實感而不是一種前人典範裡那種理想

最終還是回到個人化的表達，我希望從個人的角度對社會傳遞一些想法。

化的呈現。您如何看待並突破傳統的框架？ 安卓藝術：水墨如何成為您主要的創作媒材呢？而水墨的傳統在您的創作中 鄔一名：傳統的東西，有的是我主動要丟掉的，有的是我被動、不得不丟掉

佔據了什麼樣的角色？

的。為什麼要主動丟掉？我打個比方好了，我們從出生開始就已經過著和古 代不同的生活了，我們生孩子就是進醫院，我們的思考系統、知識分類，已

鄔一名：基於我對藝術的理念而言，材料不是絕對那麼重要，水墨只是一個

經不一樣了，如果我們還抓住舊有的東西肯定是不對的。被動丟掉的部分也

媒介。我們現在有汽車了，並不表示就不能騎馬。我覺得水墨有一個柔軟的

很明確，打個比方說，古代結婚是媒妁之言，長輩說了算，這在現代肯定是

本質，因為宣紙本身是軟的，它的表現跟西方油畫比較硬的筆觸、色塊就不

行不通。當整個生活方式都不一樣了，有些東西就是不適合了，就要丟掉了。

一樣，它有它的一種魅力，包含了以柔克剛等等來自於東方的哲學觀。我從

不認清這一點，就有點像鴕鳥把頭埋在沙裡一樣。

小學水墨，比較熟悉這個媒材，既然如此，我就應該發揮它的特點吧。另外， 我也覺得水墨的特點跟我的性格、看法蠻符合的。

我現在想要追求的一件事是，要畫什麼東西都可以，我一直有一個假想敵， 要避免失去自己的判斷。我畫我生活裡出現的人、事、物，我畫我種的盆栽，

我的表現方法和古代人不一樣，但我的創作和他們肯定是有關係的，特別是

蟑螂也是會出現在我生活中的蟲子，可以說是比較樸實、平民的題材。像我

在結構上的影響應該特別明顯。書畫的結構和西方繪畫有很大的區別，傳統

喜歡宋瓷的線條、造型，有些想法就畫了。但是如何可以做得感性一點，是

中國畫是散點透視，很少明暗表現。西畫藝術的結構是建立在透視、幾何、

我比較在意的。經過這麼多世代，中國水墨累積了很深厚的象徵意義，例如

光影等觀察方法上的。我們有我們的一套看法，而且我希望把這種區別跟西

我們都很熟悉梅、蘭、竹、菊象徵君子的清高、有節等等，這是古代文人的

方拉得愈開愈好。

選擇。對我來說，我一直提醒自己的是，要避免太表面的理解，要有自己的 想法，創造自己的象徵。

安卓藝術：那麼西方藝術以及當代藝術對您又產生了什麼樣的影響？

再談顏色。古代文人故意把色彩降到最低限，以此來標榜他的清高脫俗，當

鄔一名：這個問題太大了，但我們的教育從小就是很西化的。從印象派、塞

然這也和他們的道德理念有關係。我早期也會受影響，覺得最高境界就是墨

尚（Paul Cézanne）、高更（Paul Gauguin）、梵谷（Vincent Van Gogh），到

色，多一點顏色都是俗氣。後來會覺得為什麼不能用？俗不俗在人不在顏色，

後來的當代的培根（Francis Bacon）、沃荷（Andy Warhol）、赫斯特（Damien

例如馬諦斯（Henri Matisse）就是將色彩運用得很精采的一位藝術家，我第

Hirst），我們對他們一代代都有了解，基本上一定會受到影響。這些西方藝

一本買的畫冊就是他的作品集，我很喜歡他的畫，肯定是有受到他的影響。

術家到現在也不超過兩百年，他們的藝術進程、思想和現在是比較關聯的。

規則太多，就不好玩了。中國傳統書畫的精神裡有追求和諧的理想，現在有

安卓藝術：《美好的生活就此展開》這件作品裡，摩登漂亮的女子與樹木構

更為個性化的發揮吧。我希望儘量遠離這些唯美的表現，所以粗糙也是一種

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成了一種有趣的對照。感覺您要在當代追求光鮮時尚的文化裡，注入一些不 一樣的元素？

美好生活就此展開

An Exceptional Literati Painter— a Discussion about Ink Painting with WU Yiming

鄔一名：這件作品裡，女子與樹木既各自成立，又很協調地處在同一個時空 裡，但是這裡面也有點尷尬。包括顏色、人和樹的位置，我個人是要表達一 種尷尬。至於把人的五官、表情拿掉，是因為表情會影響畫的氛圍，現在有

Mind Set Art Center (MSAC): The Other Side of Time, your solo exhibition at

的時候覺得是好的，就也畫出表情。我有一種擔心、警覺，我對這個時代的

ShanghART Gallery in 2012, marked a crucial turning point in your career as an

方方面面都很悲觀，我們吃的食物有危險，呼吸的空氣有毒，接下來世界會 變得更好嗎？這種悲觀情緒也會滲透到作品裡面。

上回在香格納畫廊遇到政勇時我跟他說，我這兩年在香格納看展覽有一件事

artist. In addition to your consideration of visual beauty, you consciously infused the artworks with personal contemplation, reflecting the condition of your personal life in the society as well as what you thought and felt. The Beginning of Good Life is your first solo exhibition in a gallery space after The Other Side of Time. Please talk about your artistic creation during this period of time.

覺得高興，就是現在年輕藝術家比較常表現快樂，我看到的世界不是那麼快 樂，但年輕藝術家可以表達快樂，我覺得是很好的。

WU Yiming (WU): I tend to react in a slower pace to the environment. When the Chinese contemporary art was rising and attracting much attention in the 1980s, I did

安卓藝術：是什麼因素促使您持續創作？這當中您追求的是什麼？

not feel much excitement. Only until the 90s, I became aware of contemporary art, and developed my own sense of taste and judgment towards it. Contemporary art is

鄔一名：我會一直創作，是因為有一種衝動、責任、和表達的欲望。我關心

different. It focuses more on our current life.

人的問題，也關心社會問題。表達有三個層面：愛、智慧、宗教，一般我 們容易透過愛的層面去表達，宗教的層面是最高的，兩者中間則是智慧的層

Chinese calligraphy and painting stemmed from a tradition that emphasizes models.

面。而我應該用什麼方法，更有力量地傳遞，是現在我在努力的。（例如卡

Whether it is a tree or a rock, there is a certain format to paint it. Such systematic

特蘭（Maurizio Cattelan）是智慧型的，他做的很聰明。）我要找到自己的 表達方法，能夠達到更高的層面，這點我還做不到。

training is bound to become restrictive for one's thinking and mindset. In my opinion, it is fairly difficult to surpass the artistic achievement of our ancestors. My method is actually going against the tradition. Around 2004, I began to feel that my previous works were still superficial in terms of expression; therefore, I started to search for an expressive method that could convey more depth; something that was not too blunt and direct. As Chinese, we tend to be more reserve. Of course, there are artists that adopt a straightforward style and still create very powerful works, and I truly admire them. However, that is not my style, so I think I'd better stay subtle.

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Conceptually speaking, I am against what the ancient literati have represented. I

familiar with plums, orchids, bamboos and chrysanthemums symbolizing the moral

oppose the fact that they embody the so-called elitism in our society. They were,

nobility and integrity of a gentleman. This is a choice of the ancient intellectuals.

after all, dependent of the imperial authority, and lacked independent character since

For me, I have always reminded myself to avoid shallow understanding, to have my

the ancient time. On the other hand, I do identify with their view of and experiences

versions of interpretation, and to create my own symbolism.

in life. From a modern perspective, their philosophy is indeed more appropriate, ecological, and enduring.

In terms of colors, the ancients intentionally toned down the colors to highlight their noble character. This certainly reflects their view on morality. I was also influenced

MSAC: Trained in Chinese ink painting, you inherit the tradition while departing from

in my early period, and considered the black ink so refine that even one bit of color

it. Your selection of subjects, bold use of colors, deliberate fragmented brushstrokes,

would make the art tasteless. Why couldn't we use colors, I then thought? Whether

and even the effect of roughness all come together to render the painting more realistic

the colors are used in a tasteless way depends on the artist; so, I started using

instead of closer to the idealized representation in the traditional examples. How do

colors naturally. For instance, Henri Matisse mastered colors so brilliantly. The first

you see and break this framework of tradition?

catalogue I bought was his. I genuinely adore his art, and must be under his influence.

WU: I actively abandoned some parts of the tradition; but I am also forced to let

Too many rules just make things uninteresting. Traditional ink painting carries the

go of some things. Why would I abandon them by my own will? To give you an

ideal of pursuing harmony, but now there could be more personalized representations.

example: since we were born, we have been living a life drastically different from the

I hope to stay away from the idealized beautiful representations. As a result, roughness

ancient people. We go to the hospitals to give births to our children. Our thinking and

could also be a means to do that. Artistic creation is actually more antagonizing for

categorization of knowledge are all different from the ancients. If we still hold on to

me, so I tend to use a lot of dark colors for the background. I think it all boils down to

the outdated things, it is certainly not right. It also goes without saying for the things

personal expression eventually because I wish to deliver my messages and thinking to

I am forced to let go. For example, marriages used to be arranged by parents and by

the society from a personal perspective.

matchmaker's words, but it would not work in modern societies. When our lifestyle is completely changed, some things become inappropriate and must be thrown away. If

MSAC: How has ink become the main creative medium for you? What role does the

one does not see this, it would be like burry one's head in the sand.

ink painting tradition play in your works?

What I am pursuing now is to paint whatever I want. I have always imagining an

WU: In terms of my artistic concept, materials do not play a role with absolute

opposing force so that I will not lose my own judgment. I paint comparatively more

importance. Ink is simply a medium. We have cars now, but that does not mean we

plain and common subjects, like the people, things and events in my daily life. I also

cannot ride horses. For me, ink is very flexible; because xuan paper (or rice paper) is

paint my potted plants and bugs appearing in my life, like cockroaches. I like the

soft, its expression is definitely different from the Western oil painting with its harder

forms and lines of the Song ceramics, so I paint them. However, I care about how to

brushstrokes and color blocks. Ink has its own charm; for example, it embodies the

represent these subjects in a way with stronger sensibility. After so many centuries,

Chinese philosophy of softness conquers hardness. I started learning Chinese ink

Chinese ink painting has accumulated a vast array of symbolism; for instance, we are

painting when I was a child, and I am familiar with this medium. Therefore, it is

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natural for me to utilize and elaborate its characteristics. Moreover, I think the quality

think it fits, I also paint facial expressions. I am always anxious and cautious because

of ink painting quite matches my personality and viewpoint.

this era seems to make you pessimistic in every way. The food we eat might be dangerous; the air we breathe might be toxic; would the world ever become better in

My expression varies from that of the ancients. Nevertheless, it is certain that my

the future? This sense of pessimism also sieves through and gets into my works.

art was nourished by them, especially the obvious influence in terms of structure.

The structure of Chinese ink painting and that of the Western painting differ greatly.

When I met Andre at ShanghART Gallery last time, I told him that I felt very

Traditional Chinese ink painting adopts the cavalier perspective, and rarely uses

delighted when seeing exhibitions at the gallery in the past two years: young artists

the technique of chiaroscuro. The structure of Western art is based on observation

nowadays tend to express joyfulness in their works. The world in my eyes is less

methods that use perspective, geometry and the play of light and shadow. We Chinese

cheerful, but it is a nice thing that the young artists could demonstrate joy.

have our own methods, and I would like to distinguish them from the Western methods as much as possible.

MSAC: What keeps you creating art? What do you pursue in artistic creation?

MSAC: What influences do the Western art and contemporary art have on you then?

WU: I will never stop working because there is a sense of impulse and responsibility in me as well as the desire to express. I care about the issues of humanity and the

WU: This is really a broad question. The content of our education has remained

social problems, and I would like to state my thoughts in a way that carries more

very Western. We have a certain degree of understanding of each generation of

depth. There are three levels in terms of expression: love, wisdom and religion. We

Western artists, from the Impressionism masters such as Paul Cézanne, Paul Gauguin,

usually express ourselves on the level of love. The highest level is religious and

and Vincent Van Gogh, to the big names in contemporary art world, like Francis

the level of wisdom is in-between. I am working on my method of expression to

Bacon, Andy Warhol, and Damien Hirst. Therefore, we are definitely influenced by

more forcefully deliver my thinking. (For example, Maurizio Cattelan is operating

them. However, these artists are all from the past two hundred years. Their artistic

on the level of wisdom, and is quite clever.) I would like to find my own method of

development and thinking is much related to modern day.

expression to reach a higher level, which is something I still need to put more efforts into.

MSAC: In your work The Beginning of Good Life, the modern, chic lady and the trees form an interesting contrast. It seems that you want to add some different elements in the contemporary culture that seeks mainly glamour and fashion.

WU: In this piece, the woman and the trees exist independently, but also exist harmoniously in the same space and time. However, there is still something awkward, including the colors, the position of the figure and the trees. Personally, I want to express the sense of awkwardness. As for the featureless and expressionless figure, it is because facial expressions might affect the ambiance of the image. Nowadays, if I

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美好的生活就此展開 The Beginning of Good Life 水墨、宣紙 Ink on xuan paper 2014 69 x 137cm

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三棵樹 1 Three Trees 1 水墨、宣紙 Ink on xuan paper 2014 125 x 250cm

美好生活就此展開

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三棵樹 3 Three Trees 3 水墨、宣紙 Ink on xuan paper 2014 97 x 150cm

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盆景 8 Bonsai 8 水墨、宣紙 Ink on xuan paper 2014 30 x 46 cm