“ 一個時代總有一個時代的大格局，一個藝術家總有一個藝術家的微妙特性，我的不安分性格造就了我表現的多樣性，但這個不安分也讓我的作品帶有一種好玩有趣的特點。 ”
說 我 的 繪 畫
我通過學習傳統去獲得對文化的認知，以及對錶達技能的掌握，試圖在其中找到創新，從傳統出發，再加以融合。這個過程有模仿的成分，但其模仿的核心在於尋找超越傳統的突破點，而不是用那種“從……聯想到……其關鍵為……”的模仿方式，那是第一次結構性的模仿，而我想做的是第二次結構性的模仿，亦即重構與再創造的模仿，類似“小孩能夠模仿大人的動作和語言”、“猩猩能夠模仿人哭、笑等表情”，這是學習的過程的重要形式之一，但最終小孩還是小孩，猩猩還是猩猩。在學習傳統繪畫的同時，我試圖儘可能描述主觀意識之下的世界，不是“見到”而是“認識到”的世界。在一次次的創作實踐中，我一直有興趣建立一種屬於視覺語言的“心理情景”，試著表現被隱藏的野性，在熟悉或不熟悉之間，尋找滿心的歡喜，尋找更多的可能，材料本身只是媒介，用所熟悉的媒介和工具“使想象悠閒自得地在製造形象的遊戲中來去自如……”。
海蛇 紙本設色 59×44cm 2016
《海錯觀聚贊》《連帶而起》《海蛇圖》這類作品就是這樣畫成的。它們源於我看了一本《清宮海錯圖譜》。“海錯”一詞，是我國古代對於海洋生物，海產品的總稱。《海錯圖譜》即是一部記錄了海洋生物、海產品的繪卷，裡面是關於生物習性的記載，真假混雜，但妙趣橫生。我借用模仿，甚至直接抄襲，這當中運用了傳統的技能，並把它轉化為當代的表現形式，試著體會古代人繪製海洋生物時的樂趣。之後我繼續又創作了《紅珊瑚》《誰是盤中餐》《你好，火焰鳥》《落網之魚》《欲識目前真大道，絲毫不見也太奇》等作品。
我一直堅持在畫創作之餘，在身邊準備好一疊紙，以畫小品的方式，將平時在影視中或交談中的一些有意思的橋段，或者在其他作品中的一些比較有趣的畫面、情節，試著像寫日記，講故事一樣地記錄下來，於是就有了《戲畫西遊》《戲曲人物》等小品畫。這既是練習，又是自娛自樂，是我生活的一種調解，它沒有畫創作時的那種糾結，沒那麼講究表達方式，很輕鬆隨意，沒有太多標準，可變性大。但這過程對我來說很重要，可以快速的代替我前面講的第一次模仿的環節。
目前我更願意選擇傳統中國畫評定標準或章法之外的表達方式。傳統中國畫講究筆墨特性，所謂下筆“胸有成竹”，要求做到類似“駕輕就熟”的手感；但傳統國畫講究的章法與標準和當下語境難免脫節。在傳統筆墨特性方面，可以在畫小品時去練習去體會；而在表達的觀念和角度上，我更希望發掘出日常生活中被忽略的東西，更喜歡那種“陌生”的處理手法。因為陌生帶來的新鮮感反而能引發更多可能性，更多元，更自由。於我而言，從這樣的過程更容易地學習傳統，接受傳統，理解傳統，而且並不與中國傳統藝術的精神相矛盾。相反，傳統中國藝術內在精神在越來越多不同形式的當代藝術中“投胎轉世”。
出於對當代文化的思考，我畫了《天國之渡》《什麼是遊戲規則》《反正我就在那，我哪兒都不去》《上帝也瘋狂》《我不想只行走在水陸之間》等這類作品。有時候我使用了一些綜合材料，繪畫語言的單純性可以通過開放性的材料運用而體現。我的“瓦片畫”、《如來神掌》《蝴蝶效應》，是基於這一體會而創作的。
瓦片賦色 17×17cm 2017
我還嘗試在創作中使用大眾文化的形式。例如“貪吃蛇計劃”就借鑑了手遊，試圖將手遊的方式轉入繪畫，在宣紙或絹本上進行角色相互替代的創作，因為純粹是以玩家跟玩家，畫者跟觀者的角度去進入畫面，一點點摸索遊戲的規則和技法，走了很多有價值的彎路，這個過程其實很過癮，不是為繪畫而繪畫，和我在創作的那種糾結狀態很像，他給了我一種做研究的感覺，過程既刺激又享受。而《請註明：我被PS過》也是運用了相同的表達方式闡述了相近的思考。
一個時代總有一個時代的大格局，一個藝術家總有一個藝術家的微妙特性，我的不安分性格造就了我表現的多樣性，但這個不安分也讓我的作品帶有一種好玩有趣的特點。
藝術家的“體系”是十分重要的，我不敢奢求每一件作品都是經典之作，但如果能在他相應的體系下提供一個更豐富的小切面，就很有意義。比起單獨一件作品的“有意思”，我更多會考慮的是這件作品在整個體系中的位置。這種思考使我在創作中儘可能選擇多樣的表達方式，無論是用紙本還是絹本，綜合材料還是用瓦片，我都試圖通過作品的玩趣和調侃意味來呈現自我作畫的狀態，這個過程是一種體驗，也是一種反思，這才過癮了。
許偉波
2017年3月29日
貪吃蛇計劃·暢通無阻 紙本設色 15 × 100cm 2017
About My Paintings
I acquire the cultural cognition and grasp the presenting skills from the tradition, while trying some innovation from adopting something else into the traditional approaches. It might include the process of mimicry, but the point is to find out the breakthrough beyond the tradition. Not that kind of mimicry like “from ... to ..., the most important is ...”, which might be called the first structural mimicry. What I want to do is the second structural mimicry, which contains creation of reconstruction, similar to the way children imitate adults’ action and language, or orangutans imitate human being’s crying and smiling. This is one of the important processes of the learning process, but a orangutan won’t be a child after this mimicry. While studying the traditional painting, I always try to represent some subjective consciousness of the world, not the world to be saw but the one to be realized. In my creative practice, I have been interested in establishing a visual language belongs to psychological situation. I try to perform the hidden savagery, and between the familiar and the unfamiliar, seeking more possibility and feeling more delight in my heart; the material is just some medium, and by the familiar medium and tools I try “to let fancy loose in the idle plays of imagination ...”
The works like Praise of Various Marine Creatures, Catalog of Marine Creatures-Double Benefit and Sea Snake are created in this way. They were all appropriated from Catalog of Marine Creatures: Collection In The Qing Palace .This is a scroll about the habits and characteristics of marine creatures, which are just half truths, and full of wit and humor. I imitated, or even directly copied them with traditional skills, and transformed them in some contemporary form, trying to capture the fun the ancients might have while they were painting these creatures. After that I created works like Red Coral, Who Is The Meal, Hello, Flamingo, Fish in the Net, I’m Right Here, Why You Cannot See Me and so on.
In daily painting, I always prepare a stack of paper so that I could draw a sketch when I find something amusing in movie, television or conversation. It is like writing a dairy and recording a story. Then there are sketch drawings like Journey to the West, Opera Figures and so on. It is both a practice and a self-amusement, a kind of recreation in my life, which is easy and variable without standards of presentation like normal paintings. But this process is very important to me, because it can quickly replace the first structural mimicry.
So far, I prefer the expression approaches different from the old evaluating criteria or guidelines of traditional Chinese painting. On traditional Chinese painting, you may pay attention to ink features, to the confidence and the skillfulness the painter shows. Yet these are a bit disconnecting with the very context of our time. I would like to experience ink features through practice in drawing sketches. But for the expressing ideas and manners, I prefer the treatment unacquainted, which might allow ways to discover more things neglected in daily life, for novelty could bring forth more possibilities, more diversification and more freedom. It would be easier for me to study the tradition through this process, accepting and understanding it without violating the spirit of Chinese traditional art. On the contrary, the inherent spirit of traditional Chinese art has been “reincarnated” in different forms of contemporary art.
Reflecting contemporary culture, I painted works like The Crossing Toward Heaven, What Are The Rules Of Game, The Gods Must Be Crazy and I Don't Want to Walk Just Between the Land and Water. Sometimes I try mixed media to get the purity of painting language which I believe could be of openness. My works like some paintings on tiles as well as Buddha's Palm and The Butterfly Effect were based on this experience.
如來神掌 紙本設色 90×60cm 2017
I also try to adopt some form of mass culture in my works. In Snake Plan, I try to transform the form of “nibbling snakes” in mobile game into painting, thereby forming a role-playing creation on paper or silk. While painting just like a player playing with other players, or like a painter playing with some viewers, I have to spend much time on it, searching the rules of the game and the skills. but it is worthwhile. The process had me in a headlock similar to that I felt while I was painting in my studio. It was full of thrill and was very enjoyable. Please Indicate: You Have Been Photoshopped was created in similar manner.
Every era always has its own feature, and every artist has his or her character. The restlessness in my character causes the diversity of my works, also brings forth some fun in them.
The “system” of an artist is very important. I do not expect that every single work of mine could be classic. But it would be significant if it could offer some detailed aspect of a certain system. I would rather consider more about the meaning of a work in the whole system than its own favor. Thus I would like to use as much approaches as I could, including painting on paper or silk, adopting mixed media, painting on tiles, and whatever. I have tried to present the painting state of myself in my interesting and teasing works. This process is both experiencing and introspecting, which is really wonderful and enjoyable.
Xu Weibo
On March 29, 2017
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