“断线”
黄淋

去年年底，我在北京举办了“黑线——黄淋个人作品展”，通过这个展览，让我获得了许多重要的反馈信息，促使我对艺术进行了新的思考和探索！
在《黑线》系列作品中，我创作的冲动主要来源于一个具体的社会事件或新闻事件，在一个“Story”的结构中去表达自己对社会和文化的批判视角。在这些作品中逐步尝试了多种媒介的介入，逐渐以一种包容和开放的心态去面对艺术，并试图跨越艺术形态之间的界限和探寻多种媒介之间“兼容”的可能性。
在那批作品中，我认为存在着两方面的问题：一方面，缺乏对这些事件本身认识的深度,我所表达的批判立场显得不够独立和深刻；另一方面，在语言的建构上，也略显单薄。
后来，我就把在《黑线》系列作品中出现的社会事件或新闻事件的叙事结构逐渐淡化,并把它抽离掉了，就演变到了现在的《断线》系列作品。
在《断线》系列作品中，我追求那种过程性的思考和对过程中偶然出现的痕迹的控制。我在开始创作的时候，并没有一个作品预期的蓝图，作品最后呈现的结果我是无法预测的。这样的创作方式会出现很多偶然的因素，因此，作品具有很大的不确定性和可能性。我创作的过程就是一个不断书写和破坏的过程。似乎像写日记一样，把每天我在现实世界中感知到的信息和对未知世界的想象记录到画布或其他媒介上；但又似乎与写日记不同，因为我是在同一基底上不断的叠加，后一次的叠加可能覆盖了前一次的书写，通过这个反复叠加覆盖的过程，产生了一种打破了传统叙事逻辑的新的结构，即一种非线形叙事结构。《断线》系列作品的意义指向也是不确定的、模糊的，不能简单的将这批作品和“现实际遇”进行直接“对译”。所以，观者在阅读和观看我的作品时，首先会感到习惯的“读图”和“看Story”的线型审美经验被阻断，我的这批作品很难让观者一下子“读懂”，需要观者慢慢品味和思考。
正如芭芭拉.琼森（Barbara Johnson）对雅克.德里达（Jacques Derrida）的言论的的评论：“……解构既是建构，也是拆毁；它既不是建构，也不是拆毁；它向我们揭示了，建构和拆毁本身，在何意义上并不是其表面所呈示的那样。对这二者，解构既表示反对又重新定义；它颠倒这对立双方的位置，并对这对术语加以重新改造，使得之前关于它们的理解再也无法成立”。
我在《断线》系列作品中，抱着更加强烈的实验愿望，不太在乎作品的结果，更看重创作作品的过程和体验，时间的痕迹与厚度成了我作品中出现的新的纬度。在这个不断的书写、粘贴和涂抹的过程中，每次在作品上添加新的媒介或元素，也就给艺术家提出了新的挑战和可能。因此，这个创作的过程也是一个搏弈的过程，随时都充满着惊险和刺激，有无数的波澜起伏，需要艺术家保持一种高度的亢奋和激情。
初看我的《断线》系列作品，似乎非常的感性和即兴，其实不然，创作的过程始终介于感性和理性之间。这种看似随性的书写，其实是在一种非常理性化的控制之下完成的，作品中出现的每一个细小的元素都需要我的苦心经营。我在创作的过程中，处于一种感性与理性的交织状态，理性的思考逐渐由弱变强。
从《黑线》系列到《断线》系列，让我对语言的建构有了新的认识，更加坚信艺术家需要建立自己独立完备的语言系统。我们年轻一代的艺术家，需要形成自己观察世界和认知世界的方法，需要建立一套属于自己的方法系统。同时，让我对社会的关注和对文化的思考有了新的感悟，在艺术创作中，艺术家需要避免步入一种狭隘的文化观和庸俗社会学的陷阱，不能为了观念而观念。艺术家需要站在一个更高的文化支点，以一个更加广袤的视野，去重新审视我们的过去、现在和未来。
虽然，我目前的大多数作品仍然沿用布面综合媒介，但我早已游离开了架上艺术经验式的思维结构。我在思考艺术创作时，采用一种“立体”的、多层面的、多纬度的和开放的思维方式，经常会延伸到装置、影像、行为艺术等艺术形态进行反思。对于我来说，媒介是没有边界的，媒介本身是无意义的，关键是艺术家的观念，艺术家如何按照自己的逻辑系统和精神导向对媒介进行新的演绎和诠释。


A Broken Thread
Huang Lin

At the end of last year, I held a personal exhibition in Beijing named as A Black Thread which gave me a lot of important feedback information and encouraged me to go further thinking and exploring.
In the series works A Black Thread, my creative motivation comes from a definite social affair or news event in which I manage to reflect the society and culture from a critical view and try to use multi-media bit by bit. So I take a tolerant and open mind to face art creation and attempt to span the boundary between different artistic forms and try to find the compatible possibility among different media.
In my opinion, there exist two problems in my works. Firstly, for the event I collected, I didn’t carry very far and state independently my critical stance; secondly, for the language construction, I felt a little bit weak in itself.
Later I make disappeared the narrative structure of the social affairs or news events in A Black Thread gradually and then draw it out, which finally comes to the present series works A Broken Thread.
In my series A Broken Thread, what I pursued is the control over the casual-appeared trails during my thinking process. But when I start my picture creation, an expected blueprint is never in my mind and the outcome can not be predicted. So this creative method brings me many unexpected outcomes which give rise to the uncertainty and instability of my drawings. My creative process is a continuous rewriting and breaking one, like keeping a diary in which the information I got from the real world and the imagination of the unknown world are recorded, or different from diary-keeping for each overlapping is the covering of the former writing which will produce a new narrative structure, i.e. non-linear narrative structure by breaking the traditional narrative logic. The thematic meaning of this series is also obscure and blurred. So we can’t translate these picture works into real situations word by word. When the audiences appreciate my writings, their normal aesthetic tastes of looking at pictures and reading stories will be blocked as these works are hard to understand and need more time to think and digest.
Just as Barbara Johnson’s remarks on Jacques Derrida, he says that …….
With a strong experimental intention in the works A Broken Thread, I care more about the experiences that I got from my creative process and less about the result the drawings achieve. The time traces and thickness become a new latitude in my works. During this unceasing writing, plastering and daubing process, each media or element-adding brings artists new challenge and hope. Thus the process of creating is a process of striving full of risks and excitements which requires artists to keep a high spirit and enthusiasm.
Taking a glimpse of my series works A Broken Thread, it may seem to be very sensible and impromptu. Instead, this so-called casual writing has been finished under the control of rationality in which every tiny element has been handled carefully, and it is the process between sensibility and rationality. The interweaving of sensibility and rationality drives me to think about art from weak to strong gradually.
From the series A Black Thread to A Broken Thread, I have got a new understanding of language construction and strengthened my confidence in building our self-sufficient language system for art