艺术行走—秦蓁的油画

李向平

         秦蓁的画里有一种天然的自在和激动，这是我们阅读的第一理由。
         作为八零后的女性油画新锐，她用自己独具潜质的灵性和张弛适度的笔触，以内心独白式的怀念演绎着一个与自然花草、山水风物梦绕魂牵的精神依恋，同时秦蓁刚柔相济的个人气质也通过她的画面真实的得到体现，她的画就是她自己。
         《一朵云》、《山上寨》等作品，以羞涩、含混、纠结的笔触表达出一种冷静和感伤。她描绘山水的过程有种游戏式放松的，甚至是不经意的，游目骋怀式的散点视角甚至多点透视的运用，使她的画自然而然地带有中国山水精神的情愫和感怀。相对于非常成熟的油画技法，我们甚至可以这么说，油画其实仅仅是一种绘画材料或方法而已，本来无关乎主题的表达，但又仿佛这是天命的使然，所有这一切的表达又要回到用油画来表达，而且像是非用油画表达不可，油性颜料的糅合本身就是谜，所以也会让艺术家着迷。面对秦蓁画里的风景，尽管并不甜美，其实她也不着意那种甜美，其中有画家刚性的一面，又有一种对生命眷顾的忧郁和与生自来的悲天悯人，这也许来源于画家独特而深刻的人生体验抑或是生命的使然。处于后工业时代的大众，被快速变革的社会现实所挤压，过度的信息泛滥和爆炸围绕和围困周围。有限的生存空间中，各色垃圾信息，情色物欲、道德教化铺天盖地，喧嚣刺激，极大地麻痹着我们的心灵，多少人人云亦云，随波逐流，甚至没头没脑地盲从，傻笑？无端地哭泣，是啊！谁还在思考?还会在在画布上寻求飘渺的答案? 
         秦蓁她自己曾说过，她天生热爱自然，喜欢旅游，在自然中可以体会到更多在大都市的喧嚣中被掩盖的东西，在自然中她很快乐！艺术需要行走，而她就如同画面上那朵飘荡的云。

《一朵云》

        她的玉兰和花云系列作品，有特别有趣的构图，色彩浓烈，令人心惊，舞动的笔触，和着心绪，唤醒万物生灵！玉兰，盛开于乍暖还寒的春天，无需绿叶的陪衬，独自竞放，孤独而华美，就像一个生命力旺盛异常的处子，充盈着满满的明月，月华四溢，羽翼飞升。在华美深沉的梦境里幻化，流转和陶醉，演化为秦蓁画里激情飞扬的色彩。有了她对玉兰的那些神思飞扬的述说，你甚也会读到画家内心那淡淡地对与生命思考，以及那种莫名忧伤气质，其中有几幅玉兰画在圆盘形的画布上，相当朴素，近乎于墨线白描，细腻温柔的情思寄俯于冷露傲放的枝头，有始有终穿越于时空，并作用于温柔的梦乡。

花云之二   80cmx100cm   油画   秦蓁作品   2010

         艳丽、浓烈、跳跃，色彩的和舞，灼灼其华，如同火焰，在笔触于画布的撕咬中也许我们得以洞见画家那丰沛的激情，作画之时一如战士之于战场，全神贯注，拼死相博，可以为华林霰雾，可以为酷暑焦土，可以为江河浩荡，可以为如血残阳，可以为寒月霜晨。<<花云>>是浓烈的，有一种令人眩晕的感觉，目不暇给，百态丛生。花非花，云非云，花亦是云，云亦是花，花还是花，云还是云。花儿总在她的季节忘情绽放，她自在，逍遥，无所顾忌，这些画是绚烂生命的写照，没有造作和矫情，这些画直率，大胆，逼人心魂。秦蓁同时还是吸收了中国绘画的构成形式的，就像折枝花卉，斫取局部，而又兼顾了画面的透气和空间表达。
         秦蓁艺术区别于侧重观念表达的“当代艺术”。 她的绘画语言单纯，干净，既没有走入纯技术的死胡同，又没有被强势汹汹的当代潮流所协裹，她把握着自己，在推动个体小宇宙的自我发现的同时苦苦寻觅着通向大艺术的桥梁。
         女性画家从本质上讲，逃不开内心关于自我的迷恋以及对于自身成长的关注，也就决定了画面不可能有宏大的结构和叙述性语言，作为80后的新锐女性画家，秦蓁的油画其实更接近于短小精悍的抒情诗，藉绘画以提升自我，超越粗陋的日常生活，突破庸常的围困走向较高的精神层面，与其说画家在用画笔描绘客观或非客观的形象，不如说是在用油画语言来记录自己的私人日记，《昨夜说好的》四副接近于半抽象的画，犹如惊鸿一瞥，让我们窥视画家她深藏不露的内心世界，这些画恰如自我印证的一个梦，主题含蓄、感性，隐隐约约贯穿着一条关于爱情的主线，色彩对比强烈，对于构成形式又有着理智探索。如之一：红蓝两块不规则三角形色彩并置于画布上方边沿，恰如一阴一阳，即将开始不稳定的情爱旅程；之二：那块不规则的方块形的红色，带有一些类似花纹的斑点，同样是隐喻，蓝色缺席代之为白色的空洞，暗示着女性面对不成熟的男性的逃离，之三：一块红色碎白花的红布，湖蓝色的影子出现，是红与蓝的游动、异形、结合；之四：边沿并不尖利的毛茸茸的红色长三角形，以不稳定的形象占据画面视点，凝视其空白负形，则令人浮想联翩。而蓝灰色的阴性的三角形被处理为光晕或者影子，这四副小画有一定的起承转合的，符合讲故事的逻辑。
         在动画技术中，“帧”是个时间概念，相当于视频播放中一秒的三十六分之一或者电影播放中一秒的二十四分之一。四幅画我们不妨把它看作是一个短片中定格的四帧画面，也被称之为“关键帧”。它贯穿在个人情绪流动中，他们代表了画家最愿意呈献出来的最适合元素，当然，绘画就是绘画，她区别于影像，也不能被算做影像，除非这个艺术品选择了影像这种媒介形式，这几幅看似简单的画面所孕含的多种可能。我们说时光如水，韶光易逝，本来女性对于时间的认识就是超乎寻常的敏感，何况秦蓁，用热烈感性的色彩和冷峻理智的形式构成如此“不简单”的画面，用油画语言给我们讲述情感中冰与火的界限。
         秦蓁在他的博客里写到：”一个人蜗居在一个地方做艺术，其实是很痛苦的，不仅是做艺术，其实蜗居在一个地方生活，也是很痛苦的。人需要行走，艺术更需要行走，死的艺术，不是艺术，而且也没有死的艺术，艺术永远都是活的。即便这个艺术家不在了，她的艺术也将永远活下去……”

昨夜说好的之一   50cmx60cm油画   秦蓁作品  2010

昨夜说好的 之二  50cmx60cm油画   秦蓁作品  2010

昨夜说好的之三   60cmx80cm油画   秦蓁作品  2010

昨夜说好的之四   65cmx53cm油画   秦蓁作品  2010

Qin Zhen works have a kind of natural ease and excited, this is the first reason our reading her works.

As the latest generation of the feminine art, she used her unique potential spirituality and relaxation moderate brushworks, with the heart monologic type of memories longingly deducing a spirit attachment missing in dream and caring in soul about natural plants and landscape, and Qin Zhen hard and soft personal temperament also is reflected in her pictures, her painting is herself.
"A cloud ", "Mountain village" and so on, with unsmooth, ambiguity, entangled brushwork she expresses a calm and sentimental. She portrayed landscape process with game type relax, even casual, swam mesh ChengHuai type of Scatterplot Angle  even more perspective  applying, to make her painting naturally has China scenery spirit of sincerity and illnesses. Relative to the very mature oil painting techniques, we can even say so, canvas actually is just a painting materials or method, originally regardless of theme expression, but again as if it is a matter of destiny, all this expression would come back with canvas to express and, like without oil paintings express cannot, oily pigment mix is mystery, so also can let artist infatuate. Facing the scenery in the Qin Zhen painting, though not sweet, actually she also doesn't rewriter that sweet, including a painter rigid side, another has a kind of melancholy to life visited and inherent pity, perhaps this comes from painter unique and deep life experience or a matter of life. In the post-industrial era of mass, extruded by rapid change of social reality, excessive information overload and explosion surrounds and besieged around. In the limited living space, assorted garbage information, erotic materialistic, moral enlightenment overspread. Noisy greatly paralysis with our hearts, and many people parrot, go with the stream, even follow blindly, smirk? Cry for no reason, yeah! Who is still considering? Will be in on the canvas seek unsubstantial answer?
Qin Zhen herself once said that she is inborn love nature, like to travel, in nature can realize more things hidden by metropolitan uproar, in nature she is happy! Art need to walk, and she like a floating cloud in pictures.
Her Magnolia and flower cloud serial works, have particularly interesting composition of pictures, rich in color, exciting, dancing brushwork, mixing mood, awakening the creatures! Magnolia bloom in cold spring, no need of greenery foil, left blooming alone, loneline and colorful, it like a vigorous vitality debut, full filled with moonlight, wings soaring. In colorful deep dreams transforming, flowing and intoxicated, that becomes the passionate color of the Qin Zhen pictures.
With her rice imaginable dictating, you can read the painter heart thinking to life, and that kind of vague sorrow temperament, several Magnolia painted on discoidal canvas, quite simple, almost inkline uncluttered, delicate and tender feeling bloom on cold branches, have outset and end through in time and space, and used for tender dreamland.
Gorgeous, powerful, jumping, color dancing, brilliant, like fire, brush on canvas in together, maybe we can insight painter a lot of passion, when painting as soldiers on the battlefield, absorbed, desperate, can make forest have fog, can make heat scorched earth, can dance for rivers, can for like blood the setting sun, for cold moon and frosty morning.  “Flower cloud” is strong, have a dizzying feeling, too many things to see, renditions of coral-like. Flower is not flower, cloud is not cloud, the flower is also the cloud, cloud also is a flower, flower still is flower, cloud still is cloud. Flowers always in her season indifferent bloomed, she comfortable and free, unfettered, these paintings are gorgeous life portraiture, no artificial and sentimental, these paintings frank, bold, threatening fetch. Qin Zhen simultaneously absorbed Chinese painting form, like pendant with flower heads, take local, taking care of picture breathable and spatial expression.
Qin Zhen art distinguishes "contemporary art" emphasizing concept expression. Her painting language pure, clean, neither into pure technical blind, and were not wrapped by strong contemporary tide, she holds herself, promoting individual small universe of self-discovery while trying hard to large art of the bridge.
Female artist essentially, not escape inner about self infatuation and for their growth attention, has also decided the picture may not have grandiose structure and narrative language, and as after 80 female painter, Qin Zhen painting actually closer to dapper lyric poetry, through painting to improve ourselves, surpass rough daily life, the breakthrough banality besieged towards higher spiritual level, not so much painter depict objective or non-objective image, as in oil painting language recording your own personal diary, "Said good night" four close to semi abstract paintings, like a special glance, let's peek painter hidden inner world, these paintings as self-confirm a dream, a theme implicative, perceptual, imbued with a faint about love, color sharp contrast, in form also have the rational exploration. Such as No.1: red and blue two irregular triangles are placed above canvas, like Yin the Yang, she will begin unstable love journey, No.2: that piece of irregular square of red, with some similar arabesquitics, also is a metaphor, blue absence instead of white hole, suggesting that women escape facing not mature men, No. 3: a piece of broken white splashes red cloth, lake blue shadows appear, is red and blue swimming, abnormity, combined; No.4: edge is not sharp fluffy long red triangle, unstable image occupy picture a viewpoint, staring the negative-shape blank, let us random thoughts. Bluish-grey negative triangles are handled for halo or shadow, these four small paintings have certain coherence, accord with stories of logic.
In animation technology, "frames" is time concept, equivalent to a video broadcast a second one point of 36 or movie soundtracks one point of 24. Four paintings we take these as four frames a clip short film, also called "key frames. It runs through personal mood flow, and they represent the most suitable elements that the painter most want to present out, of course, painting is painting, she distinguishes image, also cannot be company image, unless the artwork chose image this medium forms, these several deceptively simple pictures contain a variety of possible.
 We say time so much so fast, time pass quickly, originally women for time understanding is the extraordinary sensitive, much less Qin Zhen, use the warm perceptual color and cold rational form compose so "not simple" picture, with oil painting language told us emotions of ice and fire boundaries.
Qin Zhen on her blog wrote: "A man sits in a place doing art, it is actually very painful, not only do art, actually sits in a local life, also is very painful. People need to walk, art more, dead art is not art, art will always be alive. Even if the artist is gone, her art will always live..."