何昊远（何锐军）的《轮回与报应系列》作品集
西方的解构主义艺术现状和所面对的问题以及我的探索
何昊远
西方的解构主义艺术是在现代主义面临危机，而后现代主义一方面被某些艺术家所厌恶，另一方面又被商业主义所滥用，因而没有办法对控制艺术三、四十年之久的现代主义--国际主义起到取而代之的作用时，作为一个后现代时期的艺术探索形式之一而产生的。他的某些局限性也在其刚刚开始发展时就埋下了。
当下西方的解构主义艺术和解构主义者企图打破现有的单元化的秩序。当然这秩序并不仅仅指社会秩序，除了包括既有的社会道德秩序、婚姻秩序、伦理道德规范之外，而且还包括个人意识上的秩序，比如创作习惯、接受习惯、思维习惯和人的内心较抽象的文化底蕴积淀形成的无意识的民族性格。希望打破秩序然后再创造更为合理的秩序。一个解构主义者不是寄生虫，而是叛逆者，他是破坏西方形而上学机制，使之不能再修复的坏孩子。从这里可以看出达达主义对其的影响！是二元对立的制造者！这些都与解构主义的主张背道而驰。
在绘画和雕塑方面，西方当前的解构主义艺术表现的很繁杂，它植根于立体派绘画和雕塑，又吸收了达达的虚无主义，是把从前奉行的结构体系分析拆解，然后以新的概念把拆解得碎片重新组建成作品。（这种方式与其诞生前半个多世纪前由毕加索和布拉克(BRAQUE )在巴黎共同研究成立的立体主义(CUBISM )看起来有些相似，但文化的结局却有根本的不同！立体艺术艺术把艺术的单一视点描绘发展到多视点，从而彻底打开了现代艺术之门。西方的解构主义也是把对象进行分解，再以油画和雕塑的形式表现这些碎片的组合体，但却无法超越现代主义也没能贴切的表现出解构主义的内涵。
目前西方的解构艺术的表达手段是对现代主义艺术主题再进行逐渐解构,使其从主题的日常化到主题形象的破碎,最终走向主题形象的彻底消亡。虽然比现代主义绘画更注重对绘画本身诸如色彩、线条等本质的探索。他过于强烈的受到立体派和达达主义影响，在虚无方面西方当前的解构主义艺术继承了它们的衣钵，也来的更为彻底。（达达主义运动的大部分参与者都深受虚无主义观点的影响，认为人类创造的一切都无实际价值，包括艺术在内。达达主义者进行艺术创作的根基在于机遇和偶然性因素。）
西方当前的解构艺术的整体现状目前使人觉到是把某种整体的东西分解为互不相干的碎片或零件的活动，使人常常联想到孩子拆卸了他父亲的手表或家里的电视机，因无法将它还原的一堆零件。这样的结局似乎包含了太多的对解构主义本身过于机械的理解。在艺术表达手段上过于依赖与立体主义和达达主义，使其在发展的过程中始终身陷现代主义的泥潭而不能自拔！过度的分解使事物丧失了原有的功能。这也是西方当前的解构主义艺术在目前世界前卫文化探索领域不能发挥其主导作用的根本原因。
德里达指出，解构主义并不是要取代结构主义或者形而上传统，也取代不了。因此，对待解构主义的最好态度不是把它当作教条，而是把它当作一种反观传统和人类文明的意识。解构主义反对权威，反对对理性的崇拜，反对二元对抗的狭隘思维，认为既然差异无处不在，就应该以多元的开放心态去容纳。
在对待传统的问题上，解构主义也并非像一些人认为的那样，是一种砸烂一切的学说。恰恰相反，解构主义相信传统是无法砸烂的，后人应该不断地用新的眼光去解读。而且，即使承认世界上没有真理，也并不妨碍每个人按照自己的阐释确定自己的理想。解构主义是一种“道”，一种世界观层次的认识，而不是一种“器”，一种操作的原则。解构主义最大的特点是反中心，反权威，反二元对抗，反非黑即白的理论，对一切传统思想的怀疑，建立新的文化思想体系，认为宇宙与万物的生成是一种生生灭灭的运动，是无止休的结构──解构──重构；毁灭一再创造。
当今解构艺术需要通过解析和重构的理念来进行艺术创作，抛弃早期的立体主义和达达主义的影响，参照解构主义在建筑学上的理论成就，注重沟通与交流，反对现代主义的控制与垄断，反对现代与传统对立的二元对抗方式，现代主义的控制与垄断、与传统对立的现实，违背了解构主义反控制与垄断、反二元对抗的初衷！只有放弃垄断与控制，放弃与传统的对立，放弃任何二元对立的企图，以更加宽容的，更自由的，更多元的方式来建构新的理论构架，解构主义的艺术才有可能发展出来。
我认为解构主义艺术实践应该是以古今既有的文化为对象，根据艺术创作的需要，进行符号意义或方向意义的分解，分解成与其原本意义相同、相对应、以它所没能表达出来的角度，进入符号贮备，有待艺术创作过程中进行重构！解构主义艺术也是对传统绘画形式，行为，色彩，构图和表达方向的抛弃，建立起无绝对权威，个人的，非中心的艺术形式，它的文化特征是多元的，非同一化的，破碎的，凌乱的，模糊的，不平衡或不对称的，在其整体上不存在特定的表达形式，是一个全开放的的文化概念。解构主义无论如何发展也不能颠覆和丧失事物原有的功能！一切既有的文化都是解构的对象，都可以从新的角度去解析和重构。
当然，我们也必须清楚地认识到：作品仅仅是“文章本体”（TEXT），还需要其他的因素，比如语法，语义，语音这些因素使之具有意义。作品的主要问题是意义的表达，而表达意义的作品有时候是不可信赖的，有时候是会误解误译的。因此，作品传达的意义并不可靠，一个符号有时候会传达不同的好几个意义，这样，艺术家如何能够使他所希望传达的意义表现出来，如何能够代表社会群体表达意义呢？根据后解构主义语言学的研究，语言也是不可靠的，那么如何建立所谓的“艺术语言”呢？对于历史的态度，对于艺术历史的立场，由于语言的不可靠性，也出现了问题，那么在作品中有什么是真正可靠，可以传达意义的呢？这些东西都值得我们反复思考。
下面谈一下我作品中的解构主义实践角度和想法：
我在艺术实践中尝试着站在现代科技的角度来解析和重构佛学中的想法，用重新搭建模型的方式从新的角度理解传统思想，并使其产生新的文化状态。
在现代科技中我们认识到物质的就基本粒子是光子！我们的物质世界只存在于一些波段中，本质上具有不真实性和不确定状态！我们的存在仅仅是自然界里的某种“事件”这和佛学中所讲的“幻象”不谋而合；原子内的世界和我们的太阳系或宇宙中所有恒星系基本结构是一样的，当我们站在组成物质的原子的角度来审视这个世界生命的孕育过程时，那无疑就是一场宇宙的大爆发。我们的世界更像一个层层包裹的洋葱，这和佛学所讲的几重天也是不谋而合的。科技的历史基本上是个不断推翻和不断的从新的角度去证实的过程，最前沿的科技也最接近宗教。到今天为止，世界对我们而言仍旧是个迷！
我用从宏观到微观的图片展现和说明我们的现实，用下水道来隐喻物质的循环方向与过程，同时也对应了佛学所说的轮回与报应。在构成的方式上用物质的微观状态来隐喻物质世界的模糊、不确定状态。以散漫的开放姿态呈现自然可能的状态。
这些作品基本上没有方向性，管道上的图案也不分主次，作品无主题、丧失二元对抗、以此表达宇宙万物的无止休结构──解构──重构、生生灭灭的运动状态。
解构主义应该是对文化极有力的新艺术表现手法。但解构主义并不应该是艺术上的无政府主义方式，或随心所欲的创作方法，而是具有重视内在结构因素和总体性考虑的高度化特点。它必须打破现代主义的创作原则和形式，以新的面貌占据了未来的文化表现空间。
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作品综述：
我们宇宙是一个在不断循环系统，我们也在这个系统中处在循环状态，我企图用这些管道和图形阐述我们这个世界在整个不断循环的宇宙自然状态中的现实状态和位置，试图站在量子力学角度下解构佛学的某种说法。
我用从宏观到微观的图片展现和说明我们的现实，用下水管道来隐喻物质的循环方向与过程，同时也对应了佛学所说的轮回与报应。在构成的方式上用物质的微观状态来隐喻物质世界的模糊、不确定状态。以散漫的开放姿态呈现自然可能的状态。
作品上没有方向性，管道上的图案也不分主次，作品无主题、丧失二元对抗、以此表达宇宙万物的无止休结构──解构──重构、生生灭灭的运动状态。
The current state of Western Deconstructionist Art, the problems it face and its relationship to my personal artistic exploration.
Western Deconstructionist Art has both been harshly criticized by Modernism and Post-Modernism as well as abused by the trends of Commercialism. It was therefore not been able to ‘stand on its feet’ and exercise real influence during the short time gap between the death of modernism and its replacement by Post-Modernism and Globalization. It seems like Deconstructionist Art was buried soon after it appeared. Contemporary Deconstructionist Art is striving to break through the barriers of a one dimensional order. It is clear that this order is not merely social, such as in the case of moral order, order in marriage, and social interactions but it also refers to the order in individual consciousness such as habits in creativity, customs of recognizing the other, thinking patterns as well as the abstract elements in our cultural foundations which determine the sub conscious characteristic of a nation. It strives to dismantle the current order in a quest to re-establish a more relevant and harmonious one. The Deconstructionist is not ‘parasitic’ in nature but rather a tailor and an innovator. He shatters the Metaphysical world view of the West in a way that it can never return to its original and problematic state. It is in this sense that he is different from the Dadaists who created a binary dualism devoid of positive constructive elements such as in Deconstructionism.
In the domain of painting and sculpture the current state of western Deconstructionist Art is in a state of disarray. It is rooted in Cubist painting and sculpture while it also absorbs elements of Dadaist nihilism. The Deconstructionist takes a certain structure, breaks it down, and then reconstructs the pieces into a work of art from a completely new and fresh angle. This may seem like what Picasso and Braque did in Paris at the beginning of the 20th century with Cubism but it actually has completely different cultural implications. Cubism moved art from a one dimensional focal point to a multiple focal point perspective and therefore opened the gates of modern art wide open. Western Deconstructionism did something similar as it expressed the harmony and compatibility of different elements and motifs in painting and sculpture but it did not manage to transcend the boundaries of Modernism and to express it true inner potential as Cubism has.
Currently the mode of expression of deconstructionist art is to gradually construct the objects of modern art by transforming their daily and mundane application into symbols and finally to arrive at their destruction. Although it gives much attention to the exploration of features such as color and brush work, the influence of Dadaism and Nihilism on its character are far too great. This is especially true regarding these movements’ belief that creativity has no practical use whatsoever and their over reliance on contingency and randomness. Today the understanding of Deconstructionist art is extremely mechanical and shallow. Most people think its something like a little kid who dismantles his father’s watch into many small components and pieces and is unable to return them to their original state. This association with fragmentation has caused people to associate it with Cubism and Dadaism which is, as stated before, the main reason for deconstructionism’s inability to realize it inherent potential.
Derrida said the Deconstructionism does not try to replace Structuralism or metaphysics, according to him it couldn’t do that even if it tried. Therefore the best way to treat it is not as a doctrine but simply as a conscious reassessment of our habitual way of looking at civilization. Deconstructionism opposes authority, opposes the admiration of rationality, opposes narrow dualisms and modern distinctions, it claims that since differences are more illusionary than real, there is a need to treat the world in an open minded approach which stresses diversity and progressive thought. It is not a trend of thought that strives to smash everything into bits and pieces, as many tend to think. On the contrary, deconstructionism strongly believes that tradition is something that can never be discarded but that future generations simply need to use new prisms to look at it. It also asks us to acknowledge that there is no solitary truth in the world and that we are not allowed to stop people from pursuing their ideals in diverse ways. Deconstructionism is like the Chinese “Dao” (The Way), its a type of world view and a level of consciousness. It is not a mechanical principle that can be operated but rather a world view that rebels against conservatism, and simplistic distinctions, it sees the cosmos as an organism in constant flux and regeneration. It tirelessly constructs, deconstructs and then reconstructs; it is a force of destruction as a preview and prerequisite to creation.
Contemporary Deconstructionism is in dire need of an overhaul in order to re-establish its creative power. It must get rid of the remnants of Cubism and Dadaism in painting and sculpture and base itself on the foundations and great achievements of Deconstructionism in architecture. It needs to stress dialogue and reciprocity, it needs to search deep inside the depth of history in the repository of ancient culture, it needs to explore historical modes of art and traditional sensibilities and it especially needs to tap into traditional symbols in search for new methods of expression. Obviously we need to acknowledge the fact that a work of art is a kind of text, so it is crucial to have a certain grammar, meaning, and intonation in order to inject it with meaning. The main goal and target of any piece of art is to manufacture some kind of meaning and significance but this meaning can frequently be misinterpreted and misunderstood. Therefore the meaning which is conveyed and transmitted by works of art is not really reliable. One symbol can point at a diverse range of meanings. So how can an artist really transmit his emotions and inner sensibilities to the world outside? According to Deconstructionism language just like art is an unreliable domain, so the question still stands: How does one construct a trustworthy artistic vocabulary? How can the artist remain sincere towards his or her history and cultural resources? These are all questions that we must continue to explore and contemplate!
Below I discuss the deconstructionist features in my art:
What I try to do in my art is to reconstruct Buddhist thought from a scientific point of view. I try to use a new template and model to understand traditional thought from a new point of view in an attempt to establish a new cultural atmosphere. From the point of view of science we are well aware today that matter is really composed of infinitesimal particles of light. Our physical world is in the midst of a fluctuating and ever changing wave, it does not have a concrete, tangible and enduring single existence. Our lives, as well as our world are merely ‘events’ this is a scientific truism that goes hand in hand with the Buddhist notion of ‘Illusion’ (Maya). The inner reality of an atom is identical with our solar system and with our universe as a whole. This multi leveled character of reality, makes a world look like a particle and a particle look like the whole cosmos. This is what the Buddhists mean when they talk about a multiplicity of universes and realities. This is the irony in the advancement of human knowledge, namely, the most cutting edge science seems to reach an agreement with the views of ancient religions. We still gaze at this world with the same mystery as in the far past. Reality, just like thousands of years ago, remains an enigma.
He Hao Yuan (Original name He Ruijun)
何昊远
西方的解构主义艺术是在现代主义面临危机，而后现代主义一方面被某些艺术家所厌恶，另一方面又被商业主义所滥用，因而没有办法对控制艺术三、四十年之久的现代主义--国际主义起到取而代之的作用时，作为一个后现代时期的艺术探索形式之一而产生的。他的某些局限性也在其刚刚开始发展时就埋下了。
当下西方的解构主义艺术和解构主义者企图打破现有的单元化的秩序。当然这秩序并不仅仅指社会秩序，除了包括既有的社会道德秩序、婚姻秩序、伦理道德规范之外，而且还包括个人意识上的秩序，比如创作习惯、接受习惯、思维习惯和人的内心较抽象的文化底蕴积淀形成的无意识的民族性格。希望打破秩序然后再创造更为合理的秩序。一个解构主义者不是寄生虫，而是叛逆者，他是破坏西方形而上学机制，使之不能再修复的坏孩子。从这里可以看出达达主义对其的影响！是二元对立的制造者！这些都与解构主义的主张背道而驰。
在绘画和雕塑方面，西方当前的解构主义艺术表现的很繁杂，它植根于立体派绘画和雕塑，又吸收了达达的虚无主义，是把从前奉行的结构体系分析拆解，然后以新的概念把拆解得碎片重新组建成作品。（这种方式与其诞生前半个多世纪前由毕加索和布拉克(BRAQUE )在巴黎共同研究成立的立体主义(CUBISM )看起来有些相似，但文化的结局却有根本的不同！立体艺术艺术把艺术的单一视点描绘发展到多视点，从而彻底打开了现代艺术之门。西方的解构主义也是把对象进行分解，再以油画和雕塑的形式表现这些碎片的组合体，但却无法超越现代主义也没能贴切的表现出解构主义的内涵。
目前西方的解构艺术的表达手段是对现代主义艺术主题再进行逐渐解构,使其从主题的日常化到主题形象的破碎,最终走向主题形象的彻底消亡。虽然比现代主义绘画更注重对绘画本身诸如色彩、线条等本质的探索。他过于强烈的受到立体派和达达主义影响，在虚无方面西方当前的解构主义艺术继承了它们的衣钵，也来的更为彻底。（达达主义运动的大部分参与者都深受虚无主义观点的影响，认为人类创造的一切都无实际价值，包括艺术在内。达达主义者进行艺术创作的根基在于机遇和偶然性因素。）
西方当前的解构艺术的整体现状目前使人觉到是把某种整体的东西分解为互不相干的碎片或零件的活动，使人常常联想到孩子拆卸了他父亲的手表或家里的电视机，因无法将它还原的一堆零件。这样的结局似乎包含了太多的对解构主义本身过于机械的理解。在艺术表达手段上过于依赖与立体主义和达达主义，使其在发展的过程中始终身陷现代主义的泥潭而不能自拔！过度的分解使事物丧失了原有的功能。这也是西方当前的解构主义艺术在目前世界前卫文化探索领域不能发挥其主导作用的根本原因。
德里达指出，解构主义并不是要取代结构主义或者形而上传统，也取代不了。因此，对待解构主义的最好态度不是把它当作教条，而是把它当作一种反观传统和人类文明的意识。解构主义反对权威，反对对理性的崇拜，反对二元对抗的狭隘思维，认为既然差异无处不在，就应该以多元的开放心态去容纳。
在对待传统的问题上，解构主义也并非像一些人认为的那样，是一种砸烂一切的学说。恰恰相反，解构主义相信传统是无法砸烂的，后人应该不断地用新的眼光去解读。而且，即使承认世界上没有真理，也并不妨碍每个人按照自己的阐释确定自己的理想。解构主义是一种“道”，一种世界观层次的认识，而不是一种“器”，一种操作的原则。解构主义最大的特点是反中心，反权威，反二元对抗，反非黑即白的理论，对一切传统思想的怀疑，建立新的文化思想体系，认为宇宙与万物的生成是一种生生灭灭的运动，是无止休的结构──解构──重构；毁灭一再创造。
当今解构艺术需要通过解析和重构的理念来进行艺术创作，抛弃早期的立体主义和达达主义的影响，参照解构主义在建筑学上的理论成就，注重沟通与交流，反对现代主义的控制与垄断，反对现代与传统对立的二元对抗方式，现代主义的控制与垄断、与传统对立的现实，违背了解构主义反控制与垄断、反二元对抗的初衷！只有放弃垄断与控制，放弃与传统的对立，放弃任何二元对立的企图，以更加宽容的，更自由的，更多元的方式来建构新的理论构架，解构主义的艺术才有可能发展出来。
我认为解构主义艺术实践应该是以古今既有的文化为对象，根据艺术创作的需要，进行符号意义或方向意义的分解，分解成与其原本意义相同、相对应、以它所没能表达出来的角度，进入符号贮备，有待艺术创作过程中进行重构！解构主义艺术也是对传统绘画形式，行为，色彩，构图和表达方向的抛弃，建立起无绝对权威，个人的，非中心的艺术形式，它的文化特征是多元的，非同一化的，破碎的，凌乱的，模糊的，不平衡或不对称的，在其整体上不存在特定的表达形式，是一个全开放的的文化概念。解构主义无论如何发展也不能颠覆和丧失事物原有的功能！一切既有的文化都是解构的对象，都可以从新的角度去解析和重构。
当然，我们也必须清楚地认识到：作品仅仅是“文章本体”（TEXT），还需要其他的因素，比如语法，语义，语音这些因素使之具有意义。作品的主要问题是意义的表达，而表达意义的作品有时候是不可信赖的，有时候是会误解误译的。因此，作品传达的意义并不可靠，一个符号有时候会传达不同的好几个意义，这样，艺术家如何能够使他所希望传达的意义表现出来，如何能够代表社会群体表达意义呢？根据后解构主义语言学的研究，语言也是不可靠的，那么如何建立所谓的“艺术语言”呢？对于历史的态度，对于艺术历史的立场，由于语言的不可靠性，也出现了问题，那么在作品中有什么是真正可靠，可以传达意义的呢？这些东西都值得我们反复思考。
下面谈一下我作品中的解构主义实践角度和想法：
我在艺术实践中尝试着站在现代科技的角度来解析和重构佛学中的想法，用重新搭建模型的方式从新的角度理解传统思想，并使其产生新的文化状态。
在现代科技中我们认识到物质的就基本粒子是光子！我们的物质世界只存在于一些波段中，本质上具有不真实性和不确定状态！我们的存在仅仅是自然界里的某种“事件”这和佛学中所讲的“幻象”不谋而合；原子内的世界和我们的太阳系或宇宙中所有恒星系基本结构是一样的，当我们站在组成物质的原子的角度来审视这个世界生命的孕育过程时，那无疑就是一场宇宙的大爆发。我们的世界更像一个层层包裹的洋葱，这和佛学所讲的几重天也是不谋而合的。科技的历史基本上是个不断推翻和不断的从新的角度去证实的过程，最前沿的科技也最接近宗教。到今天为止，世界对我们而言仍旧是个迷！
我用从宏观到微观的图片展现和说明我们的现实，用下水道来隐喻物质的循环方向与过程，同时也对应了佛学所说的轮回与报应。在构成的方式上用物质的微观状态来隐喻物质世界的模糊、不确定状态。以散漫的开放姿态呈现自然可能的状态。
这些作品基本上没有方向性，管道上的图案也不分主次，作品无主题、丧失二元对抗、以此表达宇宙万物的无止休结构──解构──重构、生生灭灭的运动状态。
解构主义应该是对文化极有力的新艺术表现手法。但解构主义并不应该是艺术上的无政府主义方式，或随心所欲的创作方法，而是具有重视内在结构因素和总体性考虑的高度化特点。它必须打破现代主义的创作原则和形式，以新的面貌占据了未来的文化表现空间。
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作品综述：
我们宇宙是一个在不断循环系统，我们也在这个系统中处在循环状态，我企图用这些管道和图形阐述我们这个世界在整个不断循环的宇宙自然状态中的现实状态和位置，试图站在量子力学角度下解构佛学的某种说法。
我用从宏观到微观的图片展现和说明我们的现实，用下水管道来隐喻物质的循环方向与过程，同时也对应了佛学所说的轮回与报应。在构成的方式上用物质的微观状态来隐喻物质世界的模糊、不确定状态。以散漫的开放姿态呈现自然可能的状态。
作品上没有方向性，管道上的图案也不分主次，作品无主题、丧失二元对抗、以此表达宇宙万物的无止休结构──解构──重构、生生灭灭的运动状态。
The current state of Western Deconstructionist Art, the problems it face and its relationship to my personal artistic exploration.
Western Deconstructionist Art has both been harshly criticized by Modernism and Post-Modernism as well as abused by the trends of Commercialism. It was therefore not been able to ‘stand on its feet’ and exercise real influence during the short time gap between the death of modernism and its replacement by Post-Modernism and Globalization. It seems like Deconstructionist Art was buried soon after it appeared. Contemporary Deconstructionist Art is striving to break through the barriers of a one dimensional order. It is clear that this order is not merely social, such as in the case of moral order, order in marriage, and social interactions but it also refers to the order in individual consciousness such as habits in creativity, customs of recognizing the other, thinking patterns as well as the abstract elements in our cultural foundations which determine the sub conscious characteristic of a nation. It strives to dismantle the current order in a quest to re-establish a more relevant and harmonious one. The Deconstructionist is not ‘parasitic’ in nature but rather a tailor and an innovator. He shatters the Metaphysical world view of the West in a way that it can never return to its original and problematic state. It is in this sense that he is different from the Dadaists who created a binary dualism devoid of positive constructive elements such as in Deconstructionism.
In the domain of painting and sculpture the current state of western Deconstructionist Art is in a state of disarray. It is rooted in Cubist painting and sculpture while it also absorbs elements of Dadaist nihilism. The Deconstructionist takes a certain structure, breaks it down, and then reconstructs the pieces into a work of art from a completely new and fresh angle. This may seem like what Picasso and Braque did in Paris at the beginning of the 20th century with Cubism but it actually has completely different cultural implications. Cubism moved art from a one dimensional focal point to a multiple focal point perspective and therefore opened the gates of modern art wide open. Western Deconstructionism did something similar as it expressed the harmony and compatibility of different elements and motifs in painting and sculpture but it did not manage to transcend the boundaries of Modernism and to express it true inner potential as Cubism has.
Currently the mode of expression of deconstructionist art is to gradually construct the objects of modern art by transforming their daily and mundane application into symbols and finally to arrive at their destruction. Although it gives much attention to the exploration of features such as color and brush work, the influence of Dadaism and Nihilism on its character are far too great. This is especially true regarding these movements’ belief that creativity has no practical use whatsoever and their over reliance on contingency and randomness. Today the understanding of Deconstructionist art is extremely mechanical and shallow. Most people think its something like a little kid who dismantles his father’s watch into many small components and pieces and is unable to return them to their original state. This association with fragmentation has caused people to associate it with Cubism and Dadaism which is, as stated before, the main reason for deconstructionism’s inability to realize it inherent potential.
Derrida said the Deconstructionism does not try to replace Structuralism or metaphysics, according to him it couldn’t do that even if it tried. Therefore the best way to treat it is not as a doctrine but simply as a conscious reassessment of our habitual way of looking at civilization. Deconstructionism opposes authority, opposes the admiration of rationality, opposes narrow dualisms and modern distinctions, it claims that since differences are more illusionary than real, there is a need to treat the world in an open minded approach which stresses diversity and progressive thought. It is not a trend of thought that strives to smash everything into bits and pieces, as many tend to think. On the contrary, deconstructionism strongly believes that tradition is something that can never be discarded but that future generations simply need to use new prisms to look at it. It also asks us to acknowledge that there is no solitary truth in the world and that we are not allowed to stop people from pursuing their ideals in diverse ways. Deconstructionism is like the Chinese “Dao” (The Way), its a type of world view and a level of consciousness. It is not a mechanical principle that can be operated but rather a world view that rebels against conservatism, and simplistic distinctions, it sees the cosmos as an organism in constant flux and regeneration. It tirelessly constructs, deconstructs and then reconstructs; it is a force of destruction as a preview and prerequisite to creation.
Contemporary Deconstructionism is in dire need of an overhaul in order to re-establish its creative power. It must get rid of the remnants of Cubism and Dadaism in painting and sculpture and base itself on the foundations and great achievements of Deconstructionism in architecture. It needs to stress dialogue and reciprocity, it needs to search deep inside the depth of history in the repository of ancient culture, it needs to explore historical modes of art and traditional sensibilities and it especially needs to tap into traditional symbols in search for new methods of expression. Obviously we need to acknowledge the fact that a work of art is a kind of text, so it is crucial to have a certain grammar, meaning, and intonation in order to inject it with meaning. The main goal and target of any piece of art is to manufacture some kind of meaning and significance but this meaning can frequently be misinterpreted and misunderstood. Therefore the meaning which is conveyed and transmitted by works of art is not really reliable. One symbol can point at a diverse range of meanings. So how can an artist really transmit his emotions and inner sensibilities to the world outside? According to Deconstructionism language just like art is an unreliable domain, so the question still stands: How does one construct a trustworthy artistic vocabulary? How can the artist remain sincere towards his or her history and cultural resources? These are all questions that we must continue to explore and contemplate!
Below I discuss the deconstructionist features in my art:
What I try to do in my art is to reconstruct Buddhist thought from a scientific point of view. I try to use a new template and model to understand traditional thought from a new point of view in an attempt to establish a new cultural atmosphere. From the point of view of science we are well aware today that matter is really composed of infinitesimal particles of light. Our physical world is in the midst of a fluctuating and ever changing wave, it does not have a concrete, tangible and enduring single existence. Our lives, as well as our world are merely ‘events’ this is a scientific truism that goes hand in hand with the Buddhist notion of ‘Illusion’ (Maya). The inner reality of an atom is identical with our solar system and with our universe as a whole. This multi leveled character of reality, makes a world look like a particle and a particle look like the whole cosmos. This is what the Buddhists mean when they talk about a multiplicity of universes and realities. This is the irony in the advancement of human knowledge, namely, the most cutting edge science seems to reach an agreement with the views of ancient religions. We still gaze at this world with the same mystery as in the far past. Reality, just like thousands of years ago, remains an enigma.
He Hao Yuan (Original name He Ruijun)
