手记1

精神气候（即风俗习惯与时代精神）仿佛在各种才干中做出“选择”，只允许某几类才干得以发展。正如人与社会群体一样，个人是“自由”，群体是“束缚”，这永远是一对矛盾。然而，人的“自由性”恰恰是在挣脱世俗的枷锁时显现的。 一张画是否具有里程碑式或划时代的意义，衡量的最主要标准就在于作品所反映的思想是否走在大时代的前面。“先锋”的意义莫过于针对历史的摧枯拉朽与面向未来的义无返顾的革新精神与对理想执著的追求。 我相信加缪之“荒谬并非仅限于对种种非人性的不适，是清醒人的常态。既不在于人又不在于世界，而是在于二者的共同表现之中，是人与世界之间的唯一纽带。”我们在亵渎“绳”灵时，我们却又受益于“绳”灵的桥梁通道。 艺术创造首先遇到的难题是艺术创造与社会审美水平的适应关系问题。真正自由的艺术，并不会消极地适应周边的环境与氛围，它总是一再地突破老的、已形成思维定式的适应关系，又自己来架构新的对话体系。 不满正是对变革的希翼；不满正是对那创造的发端。只有怀疑，才可突破“绳”的意志、“绳”的规则。所谓“不破不立，不塞不流，不止不行”，以期扬长避短、推陈出新。 赫伦总结道：“绘画在文明中的作用是人类对视觉外观本身无偏见的探索的实验室”，“一种根据无论什么实际要求而到不受禁令约束的境地的探索”。画家是而且总是在追求一个唯一的目标：一种新的抽象结构，一种新的但是纯粹的形式意味，一种新的，产生于物理视觉本身的真正的结构的模式，一种新的色彩的组织的形体。通过绘画语言的形式来感受“内在”。 特征在现实生活中固然把事物加工，但行动受到限制，不能深入事物之内留下一个深刻充分鲜明的印记。人感觉到这个缺陷，才发明艺术加以弥补。 捆绑是束缚，可是真正的自由是无法被捆绑的。也许只有当自己被捆绑时才会体会到人的自由是什么？也许学会放弃，才会疏离现实，获得自由、拥有自由。 Spiritual environment, comprised of tradition, custom and the spirit of the time, tends to “give privilege” only to some types of people, who are granted the opportunity to realize their potential. The individual is always the opposite of the community, with the former standing for “freedom” and the latter “fetters”, and the individual’s inherent ardency for “freedom” is fully illustrated when he is striving to break the fetters of the tradition. To evaluate whether a picture can be referred to as with the significance of a milestone, or as ushering in a new era, the primary measurement is to see whether what it reflects is leading the currant trend. The meaning of “pioneering” lies nowhere but in the sharp slash on the history, the reckless innovative enthusiasm and the perseverant pursuit of one’s ideals. I believe what Camus said, “ Absurdity is not merely due to the incompatibility to various forms of inhumanity, it is actually the normal condition of a woken person. It could not be attributed totally to an individual, nor totally to the world, but to the combined behavior of the two, and it is the sole connection between the human being and the world.” When I was profaning the holy god of the “rope”, I at the same time benefited from the bridging role of the spirit of the “rope”. The primary hinder for an artist’s is the difficulty to reach the balance between his creation and the social aesthetic perspectives. The art creation with freedom in nature won’t adapt to the environment or atmosphere negatively, on the contrary, it tends to constantly break the stereotyped and stale frameworks and constitute a brand new system for new conversations. Dissatisfaction implies the eagerness for changes, and is the beginning for creation. Likely, suspicion is the driver for breaking the fetters of the “rope” and the rules of the “rope”. As Chinese people advocate, “Creation is impossible before breaking the old structure, good things can’t be spread before curbing the influence of the bad”. We have to make use of the advantages and make up for the drawbacks; to get rid of the stale and bring forth the fresh. Holum concluded that “the role of painting in the history of civilization is like the unprejudiced exploration made on various visible materials by the human being.” “it’s an exploration free of any restriction viewed from whatever perspectives.” The artists are persistently pursuing a sole objective: a new abstracted structure, a new but pure form, a new structural model generated from physical vision itself, and a new combination of colors. Art is to offer the “interior” through presenting the forms. The exterior characters of a thing are easy to change, its core, however, is hard to touch due to the limit on our power---- people could hardly explore deep into a thing and leave a prominent or profound mark. It was when people felt their weakness that they created art to extend their power. When get restricted, people lose freedom. But the true freedom can never be restricted indeed. Maybe only when one is fettered, could he realize what freedom means. Maybe only when we learn how to give up, can we leave the material world behind, truly gain the freedom and enjoy the freedom.