唐骁 TangXiao

唐骁访谈

合美术馆（以下简称H）

唐骁（以下简称T）

H：你这次展出的作品有哪些？

T：这次展出的是延续的13年以来创作的立体的作品，也都是我今年的新作。

H:和以往作品比有哪些不同？

T：我设定了不同的形状和色系，由于之前的形状更偏向于建筑一些，我希望这个新的形状体系更偏向于绘画，就像我在自述里面提到的，我希望他能够像植物的感觉，把建筑观想成一个植物的表皮，而我的作品就是植物表皮的寄生物。

H:这次你根据我们的展厅情况还设计创作了一个装置作品，能不能简单介绍一下这件作品，和你之前的三维作品有没有什么关联？

T：它其实是一系列的东西，只不过体量会更大，体量的大小是和展示的空间是息息相关的，而这件装置的作品是专门为美术馆的空间制作的，让用绘画建筑的主题执行的更加彻底。

H：近年来你开始在探索这种抽象作品在这种三维空间的视觉呈现，请问一下您的创作灵感或动机是什么？

T：我不是那种太依赖灵感的艺术家，我的制作的方式是理性的，而且很大程度上是需要多方面的协同，是一种半开放的制作方式，材料的特性和制作的工艺给我了很多限制，在这种限定当中我就希望在现有的工具和条件下找到最大化的表达空间，这种手工的东西在我的作品中痕迹很重。我的动机还是从绘画出发来探讨绘画的可能性，不一样的地方放同样的作品，那么这个画所呈现的内容也有非常大的改变，基于这个初衷希望我的绘画与墙是一种依赖或摧毁、共存或破坏的关系。总而言之主要是探索建筑和绘画的一种关系。

H：你的作品提供意义或者观念么?

T:因为我把自己归类为一个比较传统的画家，虽然我的作品呈现状态与大家惯常所理解的绘画有很大的区别。但是我觉得画有几层意义，人的手工，人拿颜料在一个表面上涂抹，制作，到最后呈现一个画的状态。从这个角度讲，我的观念是传统的，并没有期待或是想要作品引向其他方向，我希望大家把注意力还是放在对于画面的理解上，尽管它加入了建筑的因素。因为我觉得画画还是得往前走，始终将注意力停留在画布上，向前的可能性也很小，怎么再往下走下去，我觉得它应该找到新的形式，那么这个形式也应该包括立体的尝试，我是在做实验。

H:有人说你的作品偏这种极简冷抽象，你觉得是这样么?

T:从它外在的形式上讲，它和原来的极简，和马列维奇，和至上主义，其实已经是另一种观念了。在那种观念中，硬边和几何是存在平面之中，而我这个是一个空间构造，虽然我也用硬边，但我这个并不是用画笔虚拟出来的硬边，并不是靠两块颜色碰撞出来的硬边，我是靠空间物理的转折而产生的硬边，那么这种硬边，你如果纳入到极简的范畴里，可能有点勉强，因为其中的观念是不一样的。

H:我知道你早期留学与德国，德国的新表现主义也是在80年代末90年代初也是非常主流的艺术风格，也出现了很多抽象艺术大师，像巴塞利兹，里希特这样的人，在德国留学的经历对你的抽象创作有没有影响？

T:不同的环境会施加给艺术家心理上的暗示，在留学的早期我其实有一点自卑的感觉，因为不太了解而产生一种距离，但这种不自信反而就推动了另外一种东西显得很强势，那就是我希望有些中国的符号出现在我的画面里，期待有中国图示支撑我的东方身份，以这种东方身份在这样的氛围里面有一点优势。最初，我有一批这样的作品，而这些作品反响还是比较好的，因为它是一种陌生化的东西，在我的班上或圈子里很少会有人这么做。过了一段时间之后，我对这个文化更加的了解了，那个时候开始就研究一些硬边的东西，逐渐的理解它，逐渐发现问题，试图解释一些问题。这就是我当时面临的一种状况。

H:你觉得考验艺术家抽象创作能力的关键点有哪些？

T:第一，空间的理解力能力要强；第二，对于画面的控制力要强，节制就是一个很重要的品质，你知道在何处应该停下来，尤其是抽象艺术家，画面并不是用来解决问题的，画是来呈现问题的，抽象绘画应该是这种状态。

Interview with Tang Xiao

He Art Museum (hereinafter referred to as H)

Tang Xiao (hereinafter referred to as T)

H: What are the works you are exhibiting this time?

T: This exhibition is a continuation of the three-dimensional works created over the past 13 years, and they are all my new works this year.

H: How is it different from previous works?

T: I set different shapes and colors. Since the previous shapes were more architectural, I hope this new shape system will be more like painting. As I mentioned in my self-report, I hope it can be like The feeling of plants is to think of architecture as the skin of a plant, and my works are parasites of the skin of the plant.

H: This time you also designed and created an installation work based on the conditions of our exhibition hall. Can you briefly introduce this work and is it related to your previous three-dimensional works?

T: It is actually a series of things, but the volume will be larger. The size of the volume is closely related to the display space, and this installation is specially made for the space of the art museum, allowing the use of paintings. The architectural theme is executed more thoroughly.

H: In recent years, you have begun to explore the visual presentation of this kind of abstract work in this three-dimensional space. What is your creative inspiration or motivation?

T: I am not the kind of artist who relies too much on inspiration. My production method is rational, and to a large extent requires collaboration from many aspects. It is a semi-open production method. The characteristics of the material and the production process give I have a lot of restrictions. Among these restrictions, I hope to find the maximum expression space within the existing tools and conditions. This kind of handcraft has a heavy trace in my works. My motivation is to explore the possibility of painting from the perspective of painting. If I put the same work in different places, the content of the painting will also change greatly. Based on this original intention, I hope that my painting and the wall will be a kind of dependence or dependence. Relationships that destroy, coexist, or destroy. All in all, it mainly explores the relationship between architecture and painting.

H: Does your work provide meaning or concept?

T: Because I classify myself as a relatively traditional painter, although the presentation of my works is very different from what everyone usually understands as painting. But I think painting has several meanings. It is human handiwork, people apply paint on a surface, make it, and finally present the state of a painting. From this perspective, my concept is traditional, and I do not expect or want the work to lead in other directions. I hope everyone will focus on the understanding of the picture, even though it incorporates architectural factors. Because I feel that painting still has to move forward, always keeping the attention on the canvas, and the possibility of moving forward is very small. How can I continue to move forward? I think it should find a new form, so this form should also Including three-dimensional attempts, I am doing experiments.

H: Some people say that your works tend to be minimalist and abstract. Do you think that is the case?

T: In terms of its external form, it is actually a different concept from the original minimalism, Malevich, and suprematism. In that concept, hard edges and geometry exist in the plane, and mine is a spatial structure. Although I also use hard edges, mine is not a hard edge virtualized with a brush, nor is it made up of two pieces of color. The hard edge that comes out of the collision is a hard edge that I rely on the twists and turns of space physics. If you include this kind of hard edge in the category of minimalism, it may be a bit reluctant because the concepts are different.

H: I know you studied abroad in Germany in your early days. German Neo-Expressionism was also a very mainstream art style in the late 1980s and early 1990s. There were also many abstract art masters, such as Baselitz and Richter. Has your experience of studying in Germany influenced your abstract creation?

T: Different environments will exert psychological hints on artists. In the early days of studying abroad, I actually felt a little inferior. Because I didn’t know much about it, I felt a distance. However, this lack of confidence actually promoted something else. It is very strong, that is, I hope that some Chinese symbols will appear in my paintings, and I hope that Chinese icons will support my oriental identity. This oriental identity will have some advantages in such an atmosphere. Initially, I had a batch of works like this, and the response to these works was relatively good, because it is a kind of unfamiliar thing, and few people in my class or circle would do this. After a while, I got to know this culture better. At that time, I started to study some hard-edged things, gradually understood it, gradually discovered problems, and tried to explain some problems. This was the situation I faced at the time.

H: What do you think are the key points that test an artist’s abstract creation ability?

T: First, you must have a strong understanding of space; second, you must have strong control over the picture. Moderation is a very important quality. You know where to stop, especially for abstract artists. Pictures are not used to solve problems. The purpose of painting is to present problems, and abstract painting should be in this state.