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前展出 Exhibition (2011.3.26- 5.7)

李文光 绘画作品展
Li Wen Guang Paintings and Drawings


 

The Arms That Poke Through Asphalt?!
-Li Wen Guang's Raving About Desire.

by Wang Ya Lei

 

When the grounds of this city began to be covered in cement and tar, they said it would smother the earth. And now no one would sigh for it anymore- the soil had already become blackened and rotten, as if the necrotic skin tissues were wrapped under the suffocating bandage. You had forgotten what was underneath that once started the first breath of life.

LI Wen Guang was born in the 1980’s. The number is only a label for time, not a label for personality- the frail or the formidable qualities of the so-called 80’s generation have no association with him. His inner desire only relates to his own being as human. The colors of such desire have been smeared onto his canvases, as if a new human form struggles to take shape and grow out from beneath the still-soft asphalt- a seed to be spread in the city, or a tumor with the stink of soil.

Nietzsche divides art into two categories: that of Apollo and of Dionysus. Fans of the first devote themselves to the glory of re-enacting dreams by exquisite skills and to create a world ascendant over humanity. The latter is an outpour of human emotions and desires in intoxicating enchantment. They wake up and forget, and even disdain their previous actions. Yet those signs of intoxication indeed have provided them the purest and most immediate pleasures. While the academic art and the current educational model attempt to push the talented young men into Apollo’s chamber, the “wild-grown” soul LI Wen Guang displays a glow shone by Dionysus, thanks to LI’s drift and dissociation. This young artist does not attempt to use colors rigorously, nor follow the golden rules of painting and composition. His “broken language” floats across the spaces on canvases, providing the experience of mystery- hesitation and uncertainty is firmly carried out by the hearty and detailed brushstrokes. He is indisputably passionate about painting men, women and sensuality. Yet, what is hard to come by is that his unconventional techniques and interpretation coincide with the unexplainable desire of youth. You might not know where it comes from but you could feel its existence. And you would enjoy the moment when it comes, whether you are a man or a woman.

 

 

《穿越柏油的手臂?!- 李文光关于欲念的醉呓》

前言:王娅蕾

 

这个城市的地面用一层厚厚的石子浇注柏油或者水泥,起初还有人说这样会让土地无法呼吸,但现在已经没有人再发出这样的感叹,因为土地们都已经腐烂成了黑色,成了一块被胶布窒息的坏死的皮肤。你们都忘记了,这柏油之下才有生命最初的呼吸。

李文光也出生在80年代。这只是一个年代的标签,而非人格的标签化——所谓80后的脆弱或者强大与这个人没有关系,他内心的欲望只与“人”本身有关,这些欲望的颜色被他抹在画布上,好像从未曾凝固的柏油路面中挣扎着生长起来一个新的人形,一个即将行走于城市的果子,一颗充满泥土腥味的瘤。

尼采把艺术分为两类:太阳神阿波罗之艺术与酒神狄俄尼索斯之艺术,前者的拥趸致力于用精湛技巧去重现梦境的辉煌,创造出一个凌驾于人类世界之上的空间,而后者是人类迷醉之后情绪与欲望的挥洒,当人们醒来,他们就忘记甚至唾弃自己之前的作为,但这些醉的符号确确实实给过他们最纯粹最直接的快乐。当学院派的技巧和教育制式试图将所有有灵气的年轻人驱赶入阿波罗的厢房,李文光这样“野生”的灵魂却因为他的游离而显示出一种自然传承狄俄尼索斯的光。这位年轻画家的用色并不严谨,甚至极少遵循油画图式中各种黄金比例的结构分割,而造成散点与聚焦、平铺与渗透交错杂陈的效果,画布的空间里漂浮着艺术家空茫的碎言碎语,观者获得的体验也相当奇妙——有些犹疑,无法确定画面的情绪走向,却能结结实实地感动于一些酣畅淋漓的笔触细节。他热衷于画性,画男人和女人,这无可厚非。难得的是,他野生的技法配得上这青春期无法讲明的欲望,你不知道它来自哪里,却能结结实实地感受这种存在,并享受它喷发一刻的快感,无论男女。

 

 

 

 

 

存在与情爱#3 Existence and Carnal Love #3
纸本、水笔 Pen and paper 78x36cm

存在与情爱#14 Existence and Carnal Love #14
纸本、水笔 Pen and paper 36x52cm

存在与情爱#16 Existence and Carnal Love #16
纸本、水笔 Pen and paper 36x52cm

 

 
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