解密“黑盒子”
黄淋
《“黑盒子”NO.1》 综合材料 207CMX167CMX9.5CM 黄淋 2008年
《“黑盒子”NO.2》综合材料 210CMX170CMX9CM 黄淋 2008年
我始终坚信艺术是一种实验，艺术家在实验中，不断去体验过程的艰辛，去分享不断超越自我的亢奋。
四川美术学院是我接受六年艺术熏陶的母校，一方面，我要感激川美这种包容和开放的艺术氛围；另一方面，我却要褒奖自己，因为在川美这片艺术之林里，我始终坚持着自己的艺术判断和艺术追求。
毋庸置疑，艺术家需要一种叛逆的精神，只有敢于不断的颠覆和放弃，才有可能为艺术创造出更多的可能性。
从我的《绿岛系列》作品到《黑线系列》，可以说是一次对“图式化”的视觉样式的反叛；而《断线系列》的诞生，又是一次与“图像叙事”线索的离经叛道，放弃了线形的叙事结构，放弃了直接的社会意义指向；而现在我正在实验的《黑盒子系列》，是一次对传统艺术形式进行更为有力的挑战和超越，打破了架上作品的平面性，融入了装置、雕塑、绘画等多种媒介的特质，作品在二维平面和三维空间之间不断的演绎，产生出了新的视觉读本。
《“黑盒子”NO.3》综合材料 210CMX170CMX9CM 黄淋 2008年
《“黑盒子”NO.3》（局部1）
“黑盒子”是我对架上作品进行的一次新的延伸和思考。盒子的概念是三维的、立体的，它除了平面作品的长、宽之外，介入了新的纬度——厚度。厚度也是一个空间的概念，渗透了雕塑与装置对空间的运用。在这个系列的作品中，我运用了大量的现成品，对媒介的选用也更为大胆和自由，绘画的基底由传统单一的平面基底延展成了复杂多变的多维空间基底。
在《黑盒子系列》的制作中，仍然强调手工性，既有感性的表达冲动，同时也不乏理性的思考和把控。作品仍然延续了《断线系列》的创作思路，没有明确的社会所指和叙事线索。在创作之初，并没有对作品的最终结果进行设定，一切都在不可预知的联想世界中不断的涂写和否定，没有到“收工”之时，作品的最后面貌真让人难以预测。
《“黑盒子”NO.4》综合材料 176CMX146CMX9CM 黄淋 2008年
《“黑盒子”NO.4》（局部）
正是在这样自由和松弛的创作语境下，每天都会由强劲有力的音乐刺激着我不断的兴奋，调动着每一根艺术神经末梢，把一些鲜活的想法和念头自然地流淌到作品中。同时，每天都在给自己设置着艺术的障碍，当我在作品中注入新的媒介和艺术语汇时，将会牵动着我对“全局”的重新思考和判断。实际上我创作作品就犹如下围棋一样，每一颗棋子就好比作品中介入的“艺术小单元”，好的棋手会随时把控着全局的视野。然而，我的棋友却是我自己，我在不断的给自己“发难”，我也可以随时改局和布阵，一切都在神秘的变幻中险中致胜。
《“黑盒子”NO.5》综合材料 176CMX146CMX9CM 黄淋 2008年
“黑盒子”有点像魔术师的舞台或巫师的道场。它融入了艺术家对生活的感悟和体验；融入了艺术家对文化的积淀和反思；还融入了艺术家对视觉读本新的理解和超越。
我之所以选择“黑盒子”，是便于在传统平面作品之上，再构建一个真实的三维空间，为我选择和采用更多的媒介提供“硬件”基础。同时，这也为二维平面与三维空间的转换寻找到了新的契机，为架上作品对三维空间的延伸提出了新的课题。
《“黑盒子”NO.5》（局部1）
其实，我对“黑盒子”的思考，已经扩散到了对环境空间和社会空间的借用，任何角落都可以看作“黑盒子”，进行新的填充和“调味”，任何媒介（包括人自身）都有可能介入到“黑盒子”中。因此，“黑盒子”是我的一个实验工厂，他可大可小，可近可远。“黑盒子”是一个艺术概念，是我对艺术思考的又一次超越，它将会伴随着我对文化的积淀和艺术的不断实践而逐渐明晰。
《“黑盒子”NO.5》（局部2）
On Uncovering “the Black box”
Huang Lin
I always believe that art is a kind of experiment. Only by continuously experiencing hardness of creative process can we take pleasure in ceaseless self-exceeding.
Sichuan Fine Arts Institute is my Alma Mater where I spend six years on art study. On the one hand, I am grateful to SFAI for her tolerant and open artistic atmosphere; on the other hand, I feel proud of myself for my persistence in art judegement and pursuit.
It has no doubt that artists need a rebellious spirit in art creation. Only with unceasingly overthrow and abjuration, can we make it accessible to art production.
From my series works Green Island to the series of A Black Thread, it is said to be a visual rebellion against SCHEMA and as the series A Broken Thread comes into being, it is regarded as another rebellion against PICTURE NARRATION, which abandoned previous linear narrative structure and direct meaning indication. And the series Black Box under experiment is also a powerful challenge and surmounting over traditional artistic forms, breaking the complanation of works in shelves. After putting some qualities of device, sculpture and painting into the works, a new version is produced in the two-dimensional plane and three-dimensional space.
The series A Black Box is the extension and rethinking about shelf-works. The concept of box is three-dimensional and stereo which include not only length and width that can be found in plane works as well as thickness. The notion of thickness falls into the category of space, which is introduced from spacial use of sculpture. In this series works, I utilize numerous ready-made products and free to use different media in my works whose traditional single base is extended to complicated varied multi-dimensional one.
The production of the series Black Box still emphasizes the hand-made work which involves sensible impulsive expression and rational consideration. This series works continues to follow the creative method of series A Broken Thread without definite social signifiers and narrative clues. At the beginning of creation I don’t intend to set down the final results of my works because the ultimate output is unpredictable in the process of unceasingly drawing and negating before it is done.
In this relaxed and enjoyable creating situation, several fresh ideas and thoughts spontaneously flew into my works and each of my nerves is mobilized long with the stimulation of strong and vigorous music every day. Meanwhile, I set up a few artistic obstacles for myself. When some new media and artistic words are flown into my works, they drives me to rethink and rejudge the whole situation. In fact, art creation is like playing weiqi and each chessman a small art unit. A good chess player will take the situation as a whole. Though I regard myself as a chess friend, I always put obstacles in front of me. So I keep changing and setting at any moment and any winner comes out of risks in mysterious changing conditions.
The series Black Box is a little bit like the stage of magician or a wizard’s rites-performing place because it includes the artist’s feelings and embodiments of life, deposition and reflection of culture, and new understanding and surmounting of visual readings.
The reason why I choose Black Box in my works is that it helps to construct a real three-dimensional space on the basis of traditional plane works and provides me with hardware foundation of more options and utilizations. At the same time, it offers two-dimensional plane works a new opportunity of changing into the works of three-dimensional space and brings forward a new topic for the extension of shelf works to three-dimension.
My thinking about Black Box is actually disseminated into the borrowing of environmental and social space. Every corner can be viewed as A Black Box which can be filled with new flavors and stuffs. Any forms of media can enter the Black box, so I take it as my experiment plant with big size or small size, or in a far or short distance. Black Box is an artistic notion, is also another surmounting over my previous thinking about art which will become clear with the accumulating cultural deposition and artistic practice.
黄淋
《“黑盒子”NO.1》 综合材料 207CMX167CMX9.5CM 黄淋 2008年
《“黑盒子”NO.2》综合材料 210CMX170CMX9CM 黄淋 2008年
我始终坚信艺术是一种实验，艺术家在实验中，不断去体验过程的艰辛，去分享不断超越自我的亢奋。
四川美术学院是我接受六年艺术熏陶的母校，一方面，我要感激川美这种包容和开放的艺术氛围；另一方面，我却要褒奖自己，因为在川美这片艺术之林里，我始终坚持着自己的艺术判断和艺术追求。
毋庸置疑，艺术家需要一种叛逆的精神，只有敢于不断的颠覆和放弃，才有可能为艺术创造出更多的可能性。
从我的《绿岛系列》作品到《黑线系列》，可以说是一次对“图式化”的视觉样式的反叛；而《断线系列》的诞生，又是一次与“图像叙事”线索的离经叛道，放弃了线形的叙事结构，放弃了直接的社会意义指向；而现在我正在实验的《黑盒子系列》，是一次对传统艺术形式进行更为有力的挑战和超越，打破了架上作品的平面性，融入了装置、雕塑、绘画等多种媒介的特质，作品在二维平面和三维空间之间不断的演绎，产生出了新的视觉读本。
《“黑盒子”NO.3》综合材料 210CMX170CMX9CM 黄淋 2008年
《“黑盒子”NO.3》（局部1）
“黑盒子”是我对架上作品进行的一次新的延伸和思考。盒子的概念是三维的、立体的，它除了平面作品的长、宽之外，介入了新的纬度——厚度。厚度也是一个空间的概念，渗透了雕塑与装置对空间的运用。在这个系列的作品中，我运用了大量的现成品，对媒介的选用也更为大胆和自由，绘画的基底由传统单一的平面基底延展成了复杂多变的多维空间基底。
在《黑盒子系列》的制作中，仍然强调手工性，既有感性的表达冲动，同时也不乏理性的思考和把控。作品仍然延续了《断线系列》的创作思路，没有明确的社会所指和叙事线索。在创作之初，并没有对作品的最终结果进行设定，一切都在不可预知的联想世界中不断的涂写和否定，没有到“收工”之时，作品的最后面貌真让人难以预测。
《“黑盒子”NO.4》综合材料 176CMX146CMX9CM 黄淋 2008年
《“黑盒子”NO.4》（局部）
正是在这样自由和松弛的创作语境下，每天都会由强劲有力的音乐刺激着我不断的兴奋，调动着每一根艺术神经末梢，把一些鲜活的想法和念头自然地流淌到作品中。同时，每天都在给自己设置着艺术的障碍，当我在作品中注入新的媒介和艺术语汇时，将会牵动着我对“全局”的重新思考和判断。实际上我创作作品就犹如下围棋一样，每一颗棋子就好比作品中介入的“艺术小单元”，好的棋手会随时把控着全局的视野。然而，我的棋友却是我自己，我在不断的给自己“发难”，我也可以随时改局和布阵，一切都在神秘的变幻中险中致胜。
《“黑盒子”NO.5》综合材料 176CMX146CMX9CM 黄淋 2008年
“黑盒子”有点像魔术师的舞台或巫师的道场。它融入了艺术家对生活的感悟和体验；融入了艺术家对文化的积淀和反思；还融入了艺术家对视觉读本新的理解和超越。
我之所以选择“黑盒子”，是便于在传统平面作品之上，再构建一个真实的三维空间，为我选择和采用更多的媒介提供“硬件”基础。同时，这也为二维平面与三维空间的转换寻找到了新的契机，为架上作品对三维空间的延伸提出了新的课题。
《“黑盒子”NO.5》（局部1）
其实，我对“黑盒子”的思考，已经扩散到了对环境空间和社会空间的借用，任何角落都可以看作“黑盒子”，进行新的填充和“调味”，任何媒介（包括人自身）都有可能介入到“黑盒子”中。因此，“黑盒子”是我的一个实验工厂，他可大可小，可近可远。“黑盒子”是一个艺术概念，是我对艺术思考的又一次超越，它将会伴随着我对文化的积淀和艺术的不断实践而逐渐明晰。
《“黑盒子”NO.5》（局部2）
On Uncovering “the Black box”
Huang Lin
I always believe that art is a kind of experiment. Only by continuously experiencing hardness of creative process can we take pleasure in ceaseless self-exceeding.
Sichuan Fine Arts Institute is my Alma Mater where I spend six years on art study. On the one hand, I am grateful to SFAI for her tolerant and open artistic atmosphere; on the other hand, I feel proud of myself for my persistence in art judegement and pursuit.
It has no doubt that artists need a rebellious spirit in art creation. Only with unceasingly overthrow and abjuration, can we make it accessible to art production.
From my series works Green Island to the series of A Black Thread, it is said to be a visual rebellion against SCHEMA and as the series A Broken Thread comes into being, it is regarded as another rebellion against PICTURE NARRATION, which abandoned previous linear narrative structure and direct meaning indication. And the series Black Box under experiment is also a powerful challenge and surmounting over traditional artistic forms, breaking the complanation of works in shelves. After putting some qualities of device, sculpture and painting into the works, a new version is produced in the two-dimensional plane and three-dimensional space.
The series A Black Box is the extension and rethinking about shelf-works. The concept of box is three-dimensional and stereo which include not only length and width that can be found in plane works as well as thickness. The notion of thickness falls into the category of space, which is introduced from spacial use of sculpture. In this series works, I utilize numerous ready-made products and free to use different media in my works whose traditional single base is extended to complicated varied multi-dimensional one.
The production of the series Black Box still emphasizes the hand-made work which involves sensible impulsive expression and rational consideration. This series works continues to follow the creative method of series A Broken Thread without definite social signifiers and narrative clues. At the beginning of creation I don’t intend to set down the final results of my works because the ultimate output is unpredictable in the process of unceasingly drawing and negating before it is done.
In this relaxed and enjoyable creating situation, several fresh ideas and thoughts spontaneously flew into my works and each of my nerves is mobilized long with the stimulation of strong and vigorous music every day. Meanwhile, I set up a few artistic obstacles for myself. When some new media and artistic words are flown into my works, they drives me to rethink and rejudge the whole situation. In fact, art creation is like playing weiqi and each chessman a small art unit. A good chess player will take the situation as a whole. Though I regard myself as a chess friend, I always put obstacles in front of me. So I keep changing and setting at any moment and any winner comes out of risks in mysterious changing conditions.
The series Black Box is a little bit like the stage of magician or a wizard’s rites-performing place because it includes the artist’s feelings and embodiments of life, deposition and reflection of culture, and new understanding and surmounting of visual readings.
The reason why I choose Black Box in my works is that it helps to construct a real three-dimensional space on the basis of traditional plane works and provides me with hardware foundation of more options and utilizations. At the same time, it offers two-dimensional plane works a new opportunity of changing into the works of three-dimensional space and brings forward a new topic for the extension of shelf works to three-dimension.
My thinking about Black Box is actually disseminated into the borrowing of environmental and social space. Every corner can be viewed as A Black Box which can be filled with new flavors and stuffs. Any forms of media can enter the Black box, so I take it as my experiment plant with big size or small size, or in a far or short distance. Black Box is an artistic notion, is also another surmounting over my previous thinking about art which will become clear with the accumulating cultural deposition and artistic practice.
