The Export of Mental World
——the Interpretation of Yuan Yuan's Paintings
As a woman, Yuan Yuan is still very young, her experience of social life is not complicated, but she has a very rich and delicate psychological world. As a painter, she is on the threshold of her art road, but she already has her own individual and mature painting style. Yuan Yuan's painting is the record of her psychological world, reading her painting is gaining an insight into her true and hidden inner world.
Yuan Yuan has a sensitive heart, and her temperament inclines to melancholy. According to Aristotle’s saying, famous people in the fields of philosophy, state activities, poetry, or the plastic arts are almost melancholic. Plato also believes that melancholic persons experience higher than the medium level, their talent is far more than others. Although we are still unable to predict the future of the artistic achievements of Yuan Yuan, but the young artist do show a very good painting talent. Facing canvas, Yuan Yuan not only know what to paint, but also know how to draw, therefore, in the world of painting she is a handy, freedom Heroine.
Yuan Yuan's works are representational, and are always themed with figures. If we say that her work depicts drama, then she is always the drama of the heroine. Except a handful of static self-portraits and single portraits, Yuan Yuan's figure paintings are mostly composed of a man and women, and with plots. However, it is surprising that, in the Yuan Yuan's paintings, we almost do not see everyday life scenarios. Not so much a painter depicts the story of her experience as it is her heart fantasy scenes.
It is a one compressed space, all the characters are arranged in the foreground, and they provoke audiences to look at them. It is a pornographic scene. There, men and women like vines and trees twine together; the naked women tend to have exposure of sexual organs. But there is no love, joy, but rather violence and injuries. The women in her works often show panic and anxiety, along with their distorted body, crazy action, the entire image is a painful symbol. Yuan Yuan's painting appears to be realistic, narrative, but is actually rich in emotion, fantasy. Although the figures in the paintings are mostly based on real models, after her heart reflection, an objective image will become weird. Deformed characters, a riot of images and non-reproducibility of the strong colors make her paintings have a pure, Munch expressionism style character.
There is no quiet, warmth and happiness; her paintings express only agitation, anxiety and fear. Such sentiments reflect the feelings of some people in our times, especially the psychological feelings of adolescent girls; it mainly comes from the artist's own life experience. Yuan Yuan told me that she came from a single-parent families, she brought up by her mother. Parents separated and her father's untimely death made that she never knew what fatherly love. Family life, especially the absence of fatherly love brought her great personality and psychological negative effects. Anxiety, fear and insecurity are lingering in her heart. Social life and interpersonal relationships, many of the things can touch her sensitive heart, a trifle, in the eyes of others not worth mentioning, and also provoked huge waves in her heart. The little things not worth mentioning in the eyes of others also can provoke huge waves in her heart. In Yuan Yuan’s painting, the sorrow, anxiety and jealousy, and other psychological phenomena become recurrent themes. For her, these things have formed an unresolved "complex" in her mind, only through painting; she can get some degree of resolve. Yuan Yuan said: "For me, everything is unreliable. From childhood to adulthood, for a lot of things I gradually lost the trust. Although I do not believe everything, I still need to express, I need an emotional sustenance place. “She paints as the export of psychological world, even as a recipe for self-heal the psychological trauma, because of this, I call her paintings as "psychological Expressionism".
In ancient China,art plays an important part in political education , it records progress and retrogression of history, educates the public, and also has the functions of moral upbringing and ethical education, in our days, art reveals social reality. In such a social environment, Yuan Yuan’s painting, which represent self-psychological world, is very rare. Although the western modernism art and the concept of self-expression have been introduced into our country for many years, but for many Chinese contemporary artists, the "self-expression" is still a very unfamiliar territory. Relative to those artistic creations concerned with the political, sociological value, Yuan Yuan's painting can bring people more moving. In a sense, Yuan Yuan is a narcissistic artist, her brush is locked in the psychological world of self-expression, and then through the expressive artistic language, she sublimates individual psychological experience into the universal human emotional experience. Yuan Yuan translates her secret psychological experience into vivid pictures, and the invisible psychological world into impressive visual images we can sense, she provides a unique and novel aesthetic specimens to the creakingly diversified art world in contemporary China.
To see Yuan Yuan’s painting, I always think of the great Mexican painter Frida Kahlo (1907 - 1954) in the 20th century, the same self-attachment, the same anxiety, sadness, different countries, different times, and the two female artists displayed very similar inner world of women. I wish Yuan Yuan achieve notable achievements in the arts as Carlo, but I do not want to see Yuan Yuan has the misfortune of life like ailing Carlo.
I sincerely wish Yuan Yuan have a happy life outside of painting!
Written by Professor Wang Daunting, Institute of Fine Arts, Academy of Arts of China
Translated by Zhang Ziqian
心理世界的出口
—--袁媛绘画解读
作为女人,袁媛还很年轻,她的社会生活阅历并不复杂,但她却有着十分丰富而细腻的心理世界;作为画家,袁媛的艺术之路才刚刚起步,但她已经有了自己独特而成熟的绘画风格。袁媛的绘画是她心理世界的纪录,品读她的绘画就是洞察她真实而隐秘的内心世界。
袁媛有着一颗敏感的心,她的气质偏于忧郁。按照亚里斯多德(Aristotle)的说法,凡是哲学、国务活动,诗歌或造型艺术有成就的名人,都是忧郁质。柏拉图(Plato)也认为,忧郁质的人阅历高于中等水平,天赋远远超过他人。虽然我们暂时还不能预言袁媛未来的艺术成就,但这位年轻的画家的确显示出相当出色的绘画天赋。面对画布,袁媛不仅知道自己要画什么,而且懂得怎样画,因此,在绘画的世界里她是得心应手、自由自在的主人公。
袁媛的绘画是具象的,而且始终以人物为母题。如果说她的作品描绘的是一幕幕戏剧的话,那么她本人则始终是戏剧中的女主角。除了极少数静止的自画像和单人像之外,袁媛的人物画多半由男女两人组成,而且带有情节性,但是,令人惊奇的是,在袁媛的画中,我们几乎看不到日常生活情景,与其说画家描绘是她经历的故事,不如说那是她心中幻想的场景。那是一个个压缩的空间,所有的人物都被安排在画面的前景,他们直逼观众的眼睛。那是一个个色情的场面,其中的男女像藤与树一样纠缠在一起,而裸体的女人往往有着暴露的性器官。但那里丝毫没有爱的欢愉,有的只是暴力和伤害。画家似乎无意于宣泄情欲,而主要是为了表达爱的恐惧。画中的女人常常呈现出惊恐和焦虑的表情,连同她们扭曲的身体、疯狂的动作,整个形象构成了一个个痛苦的象征符号。袁媛的绘画看上去是写实、叙事的,而实际上是抒情、幻想的。尽管她的画中人物大多依据的是真实的模特儿,但客观的形象经过她心灵镜子的反射就会变得怪异奇特。变形的人物、骚动的画面和非再现性的强烈色彩使得她的绘画具有纯正的、蒙克(Mench)式的表现主义品格。没有宁静、温情和快乐,她的绘画所表达的只有躁动、焦虑和恐惧。这类情绪反映了我们的这个时代部分人尤其是青春期少女的心理感受,但主要来自画家本人的生活体验。袁媛告诉我,她来自一个单亲家庭,几乎由母亲一人抚养成人,父母的分居和父亲的早逝使得她从来就不知道什么叫父爱,家庭生活特别是父爱的缺失给她的性格和心理造成了极大的负面影响。焦虑、恐惧和不安全感成为她心中挥之不去的阴霾,社会生活和人际交往中的许多事情都能触动她敏感的心,一些在他人眼里不值一提的小事也会激起她心中巨大的波澜。在袁媛的绘画中,伤感、焦虑和嫉妒等心理现象成为被反复表现的主题,对她而言,这些东西已经在她心里形成了一个解不开的“情意结”(complex),只有通过绘画她才能得到某种程度的排解。袁媛说:“对我来说,一切都是靠不住的。从小到大,我逐渐对很多东西失去了信任。尽管我什么都不相信,我仍然需要表达,需要一个寄托感情的地方。”袁媛将绘画作为心理世界的出口,甚至当成自我医治心理创伤的良方,正因为如此,我将她的绘画称为“心理表现主义”(Psychological Expressionism)。
在中国这样一个古有“明劝鉴、著升沉”,“成教化、助人伦”的艺术功能观,今有“表现社会现实生活”的艺术创作原则的社会环境中,袁媛的这种“表现自我心理世界”的绘画是十分罕见的。虽然西方现代主义艺术及其“表现自我”的观念传入我国已有多年,但对于很多中国当代艺术家而言,“表现自我”仍然是一个极为陌生的领域。相对于那些关注政治、强调社会学价值的艺术创作,袁媛的绘画能带给每个人更多的感动。从某种意义上说,袁媛是一个自恋的画家,她将画笔锁定在自我心理世界的表现,进而通过富有表现力的艺术语言将自己个人的心理感受升华为带有人类普遍的情感体验。袁媛将自己隐秘的心理体验凝结成一幅幅生动的画面,让不可见的心理世界外化为可以感知、令人感动的视觉图像,给日益多元化的中国当代画坛提供了独特而新颖的审美标本。
看到袁媛的绘画,我总会联想到20世纪墨西哥伟大的女画家弗里达•卡洛(Frida Kahlo, 1907--1954),同样的自我眷恋,同样的焦虑忧伤,不同国度、不同时代的两位女画家给我们展现了极为相似的女性心理世界。我希望袁媛在艺术上取得像卡洛那样引人注目的成就,但我不愿看到袁媛有着卡洛那样病痛缠身的不幸人生。
我衷心祝愿袁媛画外的人生幸福快乐!
王端廷 中国艺术研究院美术研究所 研究员
袁媛有着一颗敏感的心,她的气质偏于忧郁。按照亚里斯多德(Aristotle)的说法,凡是哲学、国务活动,诗歌或造型艺术有成就的名人,都是忧郁质。柏拉图(Plato)也认为,忧郁质的人阅历高于中等水平,天赋远远超过他人。虽然我们暂时还不能预言袁媛未来的艺术成就,但这位年轻的画家的确显示出相当出色的绘画天赋。面对画布,袁媛不仅知道自己要画什么,而且懂得怎样画,因此,在绘画的世界里她是得心应手、自由自在的主人公。
袁媛的绘画是具象的,而且始终以人物为母题。如果说她的作品描绘的是一幕幕戏剧的话,那么她本人则始终是戏剧中的女主角。除了极少数静止的自画像和单人像之外,袁媛的人物画多半由男女两人组成,而且带有情节性,但是,令人惊奇的是,在袁媛的画中,我们几乎看不到日常生活情景,与其说画家描绘是她经历的故事,不如说那是她心中幻想的场景。那是一个个压缩的空间,所有的人物都被安排在画面的前景,他们直逼观众的眼睛。那是一个个色情的场面,其中的男女像藤与树一样纠缠在一起,而裸体的女人往往有着暴露的性器官。但那里丝毫没有爱的欢愉,有的只是暴力和伤害。画家似乎无意于宣泄情欲,而主要是为了表达爱的恐惧。画中的女人常常呈现出惊恐和焦虑的表情,连同她们扭曲的身体、疯狂的动作,整个形象构成了一个个痛苦的象征符号。袁媛的绘画看上去是写实、叙事的,而实际上是抒情、幻想的。尽管她的画中人物大多依据的是真实的模特儿,但客观的形象经过她心灵镜子的反射就会变得怪异奇特。变形的人物、骚动的画面和非再现性的强烈色彩使得她的绘画具有纯正的、蒙克(Mench)式的表现主义品格。没有宁静、温情和快乐,她的绘画所表达的只有躁动、焦虑和恐惧。这类情绪反映了我们的这个时代部分人尤其是青春期少女的心理感受,但主要来自画家本人的生活体验。袁媛告诉我,她来自一个单亲家庭,几乎由母亲一人抚养成人,父母的分居和父亲的早逝使得她从来就不知道什么叫父爱,家庭生活特别是父爱的缺失给她的性格和心理造成了极大的负面影响。焦虑、恐惧和不安全感成为她心中挥之不去的阴霾,社会生活和人际交往中的许多事情都能触动她敏感的心,一些在他人眼里不值一提的小事也会激起她心中巨大的波澜。在袁媛的绘画中,伤感、焦虑和嫉妒等心理现象成为被反复表现的主题,对她而言,这些东西已经在她心里形成了一个解不开的“情意结”(complex),只有通过绘画她才能得到某种程度的排解。袁媛说:“对我来说,一切都是靠不住的。从小到大,我逐渐对很多东西失去了信任。尽管我什么都不相信,我仍然需要表达,需要一个寄托感情的地方。”袁媛将绘画作为心理世界的出口,甚至当成自我医治心理创伤的良方,正因为如此,我将她的绘画称为“心理表现主义”(Psychological Expressionism)。
在中国这样一个古有“明劝鉴、著升沉”,“成教化、助人伦”的艺术功能观,今有“表现社会现实生活”的艺术创作原则的社会环境中,袁媛的这种“表现自我心理世界”的绘画是十分罕见的。虽然西方现代主义艺术及其“表现自我”的观念传入我国已有多年,但对于很多中国当代艺术家而言,“表现自我”仍然是一个极为陌生的领域。相对于那些关注政治、强调社会学价值的艺术创作,袁媛的绘画能带给每个人更多的感动。从某种意义上说,袁媛是一个自恋的画家,她将画笔锁定在自我心理世界的表现,进而通过富有表现力的艺术语言将自己个人的心理感受升华为带有人类普遍的情感体验。袁媛将自己隐秘的心理体验凝结成一幅幅生动的画面,让不可见的心理世界外化为可以感知、令人感动的视觉图像,给日益多元化的中国当代画坛提供了独特而新颖的审美标本。
看到袁媛的绘画,我总会联想到20世纪墨西哥伟大的女画家弗里达•卡洛(Frida Kahlo, 1907--1954),同样的自我眷恋,同样的焦虑忧伤,不同国度、不同时代的两位女画家给我们展现了极为相似的女性心理世界。我希望袁媛在艺术上取得像卡洛那样引人注目的成就,但我不愿看到袁媛有着卡洛那样病痛缠身的不幸人生。
我衷心祝愿袁媛画外的人生幸福快乐!
王端廷 中国艺术研究院美术研究所 研究员
The early times of YuanWhen young
Two faces with a single name Often take sides and battle In one We see thoughtful composure The keeper of life’s mystery In the other We see immense distress Mind and body transgression One Is a flowerbed Over a confidant mirror Or a simple meal on the lawn Where melancholy blossoms The other Is a crude thicket of the senses? Fluvial blood flow In closed rooms, queries Choked in sparking dances Two faces in one In those early times And perhaps one face In oncoming times When life will pick its colors And pose them a challenge… To tell nothing but the truth To the detriment of torment and sacrifice… It’s your road companion A pure and distant light Written by Eugenio De Signoribus, Italy poet 1/3 September 2009 Translated by Nick Smith |
袁媛的早春时光年轻时
两张面孔往往共存于一个名下 因此它们相互冲突并战斗 在一张面孔里 是庄严的沉思 它注视着生命的迷雾 在另一张里 是混乱的极致 还有精神与肉身的背叛 一个 是花儿的斗篷 铺在贴心的镜子上 或是草坪间布设朴素的午餐 在那儿忧伤处处开放 另一个 编织着情感的裸体 血液如大河般奔流 紧锁的房间里,困惑 被扼杀在燃烧的舞蹈里 两张面孔熔于一体 在这最初的时光 也许会仅存其一 在那缓步而至的光阴 当生命将要选择他的色彩 却视它们为一个挑战… 永远诉说真理 那是关于痛苦和献身的意义… 但或许这就是陪伴你的道路 一束纯净且没有尽头的光芒 Eugenio De Signoribus 意大利诗人 1/3,9,2009 |
It is ......
It is the fate of some women to have the chance to completely change their lives. It is written in their DNA. There is a pure light illuminating their faces, but the same may blind their vision of life.
Yuan Yuan has a clear and clean face; however, her great energy and anxiety are hidden inside. Painting becomes the main tool used by her to release her dark forces.
Her art does not tolerate negotiations or compromises, it is as clear as water, as crude as life, always merciless towards those observing it.
Her early works during the Academy show her virtuous and feminine side. The more she grows, the more her art reveals its true nature. It is changeable, twisting, highly expressive, erotic and carnal, aimed at obtaining freedom for her and others.
A. Cartuccia (Italy)
Translated by Nick Smith
Yuan Yuan has a clear and clean face; however, her great energy and anxiety are hidden inside. Painting becomes the main tool used by her to release her dark forces.
Her art does not tolerate negotiations or compromises, it is as clear as water, as crude as life, always merciless towards those observing it.
Her early works during the Academy show her virtuous and feminine side. The more she grows, the more her art reveals its true nature. It is changeable, twisting, highly expressive, erotic and carnal, aimed at obtaining freedom for her and others.
A. Cartuccia (Italy)
Translated by Nick Smith
一些......
一些女人命运注定有机会彻底改变自己的生活。这写在他们的基因里边了。一束圣洁的光芒照亮了他们脸庞,但同样也阻碍了他们的生活视野。
袁媛有一个清澈的面孔,然而她巨大的精力和焦虑隐含于其中。绘画成为她释放黑暗力量的主要手段。
她的艺术毫无容忍,毫不妥协和屈服,如水一般清澈,像生活一样未加修饰,总是冷眼对待外来的洞悉。
早期学院时期的作品展示她的善良和妩媚的一面。随着她的成长,她的艺术愈来愈揭示其本质。她的艺术多变,扭曲,极富表现力,色情和肉欲,致力于为她和他人获得自由。
A. Cartuccia (Italy)
张子谦译
袁媛有一个清澈的面孔,然而她巨大的精力和焦虑隐含于其中。绘画成为她释放黑暗力量的主要手段。
她的艺术毫无容忍,毫不妥协和屈服,如水一般清澈,像生活一样未加修饰,总是冷眼对待外来的洞悉。
早期学院时期的作品展示她的善良和妩媚的一面。随着她的成长,她的艺术愈来愈揭示其本质。她的艺术多变,扭曲,极富表现力,色情和肉欲,致力于为她和他人获得自由。
A. Cartuccia (Italy)
张子谦译
Painter Osvaldo Licini ......
Painter Osvaldo Licini(1894-1958) once described himself as: wandering, erotic, and atheism. Here is how I would describe the style of Chinese artist Yuan Yuan: erotic, agitation, and imaginative. Yuan Yuan's imagination as the Italian painter Lincini surreal imagination is so strong and full of enthusiasm. The strong colors in her works make lines and background become blurred, and cause confusion and restlessness in the minds of the viewer. With a carnival-like
tone Yuan Yuan reveals a distorted reality, while her paintings are full of imagination, gives viewers a strong visual impact. Her paintings give us a sense of madness, dark and strong color creates an atmosphere of conflict. Dark and the atmosphere near the border of hell highlight the visual illusions of paintings. The stunning paintings of the young Chinese artist are created in a poetic emotional mood, give people a sense of the brink of the abyss.
Written by Sandro Trotti, Italy artist
June 2009
Translated by Zhang Ziqia
tone Yuan Yuan reveals a distorted reality, while her paintings are full of imagination, gives viewers a strong visual impact. Her paintings give us a sense of madness, dark and strong color creates an atmosphere of conflict. Dark and the atmosphere near the border of hell highlight the visual illusions of paintings. The stunning paintings of the young Chinese artist are created in a poetic emotional mood, give people a sense of the brink of the abyss.
Written by Sandro Trotti, Italy artist
June 2009
Translated by Zhang Ziqia
画家林奇尼......
画家林奇尼(Licini)曾经如此形容自己:流浪的、情色的、无神论的。这里,我要如此形容中国画家袁媛的风格:情色的、躁动的、富有想象力的。袁媛的想象力与意大利绘画大师林奇尼超现实主义的想象力相比,是如此强烈而充满狂热。她画作中强烈的色彩使线条和背景变得模糊,在观者的心中引起混乱和躁动。袁媛以一种狂欢般的色调揭示了一个扭曲的现实,同时她的画作充满了想象力,给人极强的视觉冲击。她的画作给人一种接近疯狂的感觉,暗淡且强烈的色彩给画面营造出一种矛盾的氛围。昏暗而近乎地狱边境的氛围更加突显了画作的视觉幻想。年轻的中国女画家的令人炫目的画作是在一种诗意的躁动情绪下创作的,给人一种濒临深渊的感觉。
意大利艺术家 Sandro Trotti
王苏娜译
意大利艺术家 Sandro Trotti
王苏娜译