唐骁 TangXiao

唐骁访谈

光环、花园和湖：

光环、花园和湖作为展览结构，最初是对汤湖美术馆的印象，是三位艺术家在同一个美术馆里面的三空间里面所办的展览。把艺术家的个人印象，从展览的名称上就给出心理投影。光环、花园和湖是很具象的心理暗示。当我们在提到光环时，心中会出现一个光环。这个光环可能是环状的日光灯，也可能是电脑游戏Halo中的环状陆地带。不同的心理图示会给观众一个最初始的印象。每个人心中都会有理想的花园，怎么摆设这个花园，也会有相应的画面。武汉是一座包裹着湖的城市，成长中和湖相见的经验很有画面感。我们首先为观众制造光环、花园和湖的画面，观众带着自己的假设，走进展厅看到我们的作品，可能会有反差，有似曾相识，也会有其他的交集或是更复杂的情绪。

展览中的作品：

这次的作品，和我以往的作品形式，有较大的跳跃。之前我希望我的作品始终还是在绘画的层面上，再去判断问题，发现问题，解决问题。此前的立体作品，与之是上下文关系，是在研究空间的问题与观看问题。

从空间上来讲，我希望我的作品虽然停留在绘画的层面上去看待问题。但是，它和以往的绘画，又有不同的地方。假设将平面的画布拉出来形成立体的结构，在这个立体结构上的每一个单位面积上，又用绘画的手段去表达，这与之前的绘画建筑是同一初衷。延伸到观看问题，平面绘画在不同空间中移动，从艺术家的工作室，从画架，从墙上到另外一个空间。在白墙上，把这些构置的画面挪到另外一面白墙上，是暂时的终点。在这些空间中，移动去看作品，实际上是在墙上开启了一个个漏斗。当作品放在墙上，它会产生伸进去的幻象。从这面墙看到墙的背后，可能有人，可能有物，故事实际上是发生在墙的背后。站在画面前，我是起点。目光延伸到画面，用经验构筑的三维世界，画面之后所发生的东西，远处的、中间的、最近的这些东西在干什么。用经验和这张画构置世界。这个过程是可以逆转过来的，让墙变成起点，人变成终点。一件立体作品上墙后，墙是主体，像树干，作品是树枝，或是砍在墙面的斧头。树干是完结的地方，它生长出来向人延伸，终点是人。大概两米处，作品有一米的深度，人和作品之间就是艺术家构建的空间和观看经验的状况。

湖本身是抽象的，大家都知道湖是什么，但每个人心目中提到的湖，所见到的景象是不同的。大脑里面所构筑的景象，通常是惯常所见到的湖。汉口的孩子想到的是西北湖，武昌孩子想到的是水果湖，或者是东湖，江夏的孩子想的是汤逊湖。曾经有某个场景，某个时间点对他来说印象深刻，那么这个场景就成其为对湖的印象。这次的作品并非延续之前立体作品。“湖”是我在某个时间对于湖的一个非常顽固的印象，当我想到湖的时候，画面就会闪现到在我的脑海里。空间的占有，和观看的经验，我希望作品是起点，人是终点。

观察经验：

我想象的观察经验，是种距离感，可以是时间的距离，也可以是物理的距离，我希望把这种距离感体现出来。就像湖是巨大的体积。这种体积给人的印象，可以闻到湖水的腥气，可以感受到的湿气，那种风。虽然站在湖边，始终会觉得湖很远。这种距离感再现在展厅里面，展厅的空间是有大小局限的，怎么在有限空间里面体现出这种距离感，是我在这个实施方案时，主要考虑的问题。

光环和花园：

朗雪波，他的绘画给我的观感是非常强悍的，很硬，非常硬，不管是画面当中的这个他所画的人物，或者给予这些人物的光照，这种光照改变了固有色，产生光的颜色，在深色的背景里面，始终是给人紧张的，很硬的，或者上升到某种对抗。作品中也许有政治因素，也许没有，但我想他表达的并不只是政治，甚至于根本就没有去表达政治。他需要这种紧张感，需要这种光给人的压迫感。光是无形的，但是光往往会给人一种情绪。在强烈的光照下，光会给人非常强大威压,而感觉到自己的渺小，所有的景物都在模糊，甚至于怀疑你所处的位置。那么光在朗雪波的作品里是非常重要的表达对象。我们想到光环时，它不是实物，它是情绪，或者说是视觉上的错觉，在遇到一些我们所不可抵抗的或是过于强烈的刺激的时候，产生的自我保护意识。光如何会组成具体的形象呢？既然可以把它想象成一个环，应该是空间所给的限制，更多的是生理上的变化，是收获式的，它是种防御性。陈波的花园。我觉得陈波是很诗意的人，与他交谈往往有种感觉，他也在说话，也在跟你对谈，但是你觉得他不在你旁边。物理上他是在我们身边，但是我觉得他是飘忽的。花园，虽然是很现实的存在，但是它也是很梦幻的存在。每个人看到花园，因为花园中的东西很多，就像程然说的，撒了一堆积木在那里。其中有一块可能是你想找到的，你知道它存在，但总不可能找到。它是种很复杂的结构，就像花园，它有无数棵草。你知道其中有一棵是你想要的。但是他就是在无数棵当中啊，他可能就是给我们在编织这种东西，这是我对他的想法。他的绘画，在画这棵树，或者是在画这个人，我觉得也不是，他的色调给我们的这种感觉。所以，往往当你身处花园的时候，你都不知道看什么东西，花园把你环绕住。逻辑上，它应该在那里，但实际上并不在。

Interview with Tang Xiao

Aura, Garden and Lake:

The halo, garden and lake as the exhibition structure were originally the impression of Tanghu Art Museum. It was an exhibition held by three artists in three spaces in the same art museum. The title of the exhibition gives a psychological projection of the artist's personal impression. Halos, gardens and lakes are very concrete psychological suggestions. When we mention aura, a halo appears in our mind. This halo may be a ring-shaped fluorescent lamp, or it may be a ring-shaped land belt in the computer game Halo. Different psychological images will give the audience an initial impression. Everyone will have an ideal garden in their mind, and how to arrange this garden will also have a corresponding picture. Wuhan is a city surrounded by a lake. The experience of meeting the lake while growing up is very picturesque. We first create images of halos, gardens and lakes for the audience. When the audience walks into the exhibition hall and sees our works with their own assumptions, they may experience contrasts, deja vu, other intersections or more complex emotions.

Works in the exhibition:

This work is a big jump from my previous works in form. Before, I hoped that my works would always be at the level of painting, and then I would judge, discover, and solve problems. Previous three-dimensional works have a contextual relationship with them, and they are studying issues of space and viewing.

From a spatial perspective, I hope that my work will stay at the level of painting and look at the problem. However, it is different from previous paintings. Suppose the flat canvas is pulled out to form a three-dimensional structure, and each unit area of this three-dimensional structure is expressed through painting. This is the same original intention as the previous painting architecture. Extending to the question of viewing, flat paintings move in different spaces, from the artist's studio, from the easel, from the wall to another space. On a white wall, moving these constructed pictures to another white wall is a temporary end point. In these spaces, moving to see the works actually opens funnels on the walls. When the work is placed on the wall, it creates the illusion of reaching in. From this wall, you can see that there may be people or things behind the wall. The story actually takes place behind the wall. Standing in front of the picture, I am the starting point. The gaze extends to the picture, the three-dimensional world constructed with experience, what happens behind the picture, what are the things in the distance, the middle, and the nearest doing. Use experience and this painting to construct the world. This process can be reversed, so that the wall becomes the starting point and the person becomes the end point. After a three-dimensional work is put on the wall, the wall is the main body, like a tree trunk, and the work is the branches, or the ax that cuts on the wall. The tree trunk is the place where it ends. It grows out and extends towards people, and its end point is people. At about two meters, the work has a depth of one meter. The space between the person and the work is the space and viewing experience created by the artist.

The lake itself is abstract. Everyone knows what a lake is, but the sight of the lake in everyone's mind is different. The scene constructed in the brain is usually the lake that we are used to seeing. Children in Hankou think of Northwest Lake, children in Wuchang think of Fruit Lake or East Lake, and children in Jiangxia think of Tangxun Lake. There was once a certain scene, a certain point in time that impressed him deeply, and then this scene became his impression of the lake. This work is not a continuation of the previous three-dimensional works. "Lake" is a very stubborn impression I had of a lake at a certain time. When I think of a lake, the picture will flash into my mind. Regarding the occupation of space and the experience of viewing, I hope that the work is the starting point and the person is the end point.

Observation experience:

The observation experience I imagine is a sense of distance, which can be time distance or physical distance. I hope to reflect this sense of distance. Like the lake is a huge volume. This size gives people the impression that they can smell the fishy smell of the lake, feel the humidity, and the wind. Although standing by the lake, I always feel that the lake is far away. This sense of distance is reproduced in the exhibition hall. The space of the exhibition hall is limited in size. How to reflect this sense of distance in the limited space is my main consideration when implementing this plan.

Aura and Garden:

Lang Xuebo, his paintings give me a very strong, hard, very hard impression. Whether it is the characters he painted in the picture, or the illumination given to these characters, this illumination changes the inherent color and produces light. The color, in the dark background, always makes people nervous, very hard, or rises to some kind of confrontation. There may or may not be political elements in the work, but I think what he expresses is not just politics, or even politics at all. He needs this sense of tension, this sense of oppression given by the light. Light is invisible, but light often gives people an emotion. Under strong light, the light will give people a very strong pressure, making you feel insignificant, all the scenery will be blurred, and you will even doubt your location. So light is a very important expression object in Lang Xuebo's works. When we think of aura, it is not a physical object, it is an emotion, or a visual illusion, a sense of self-protection that arises when we encounter some stimuli that we cannot resist or are too strong. How does light form a concrete image? Since it can be imagined as a ring, it should be a limitation given by space. It is more of a physiological change, harvest-like, and defensive. Chen Bo's garden. I think Chen Bo is a very poetic person. When talking to him, you often feel that he is also talking and conversing with you, but you feel that he is not next to you. Physically he is beside us, but I feel that he is erratic. Although the garden is a very realistic existence, it is also a very dreamy existence. Everyone saw the garden, because there were many things in the garden, and just like Cheng Ran said, there were piles of bricks scattered there. There may be a piece of it that you want to find. You know it exists, but it is impossible to find it. It is a very complex structure, like a garden, with countless grasses. You know one of them is the one you want. But he is among countless trees. He may be weaving this kind of thing for us. This is my idea about him. His paintings are painting this tree or this person. I don’t think it’s the feeling that his tones give us. Therefore, often when you are in a garden, you don’t know what to look at. The garden surrounds you. Logically, it should be there, but it's not.