材料与形式,修辞与审美——杨光伟作品中的审美取向

Material and Form, Rhetoric and Aesthetic Appreciation——Aesthetic Orientation in Yang Guangwei's Works

杨光伟的这批新作有一个基本的特点,那就是让材料成为创作的起点。不管是画面的形式、修辞,还是意象化的表达,以及作品流溢出的审美意识,都与材料的媒介物性表达息息相关。事实上,材料的转换与嫁接,对于杨光伟来说,仍然得益于创作观念的转变。追溯西方绘画的发展,不难发现,文艺复兴所形成的方法与规则是在二维的平面上对外部世界进行真实的＂再现＂。这一传统绵延了500多年,不仅建构了西方古典绘画的法则与范式,而且主宰了几个世纪的审美与趣味。

Yang Guangwei＇s new series of works bears a fundamentally common characteristic of taking the material as the starting point of his creations. The form and rhetoric of the flame, symbolized expression as well as the aestheticthat his works reveal are all related to the physical expression of the materials as the meditnns.