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郑路作品《水音》由中国国家大剧院收藏

《水音》/ 郑路

《水音》是从雕塑与文本之间的互动与冲突汲取创作灵感。将唐代诗人白居易的诗歌《玩止水》中的文字构成了瞬间定格的静止之水，形成了“远看山有色，近听水无声”的把水声、心声叠为一体的设喻。

郑路_水音_600cm(高)_不锈钢_2017 国家大剧院定制作品

Zheng Lu

郑路

Public Art: Parastasis of Nature

公共艺术：自然的异位显性

The recent creations by Zheng Lu, renowned for his adapatation of traditional literati and poetical references in the sculptural medium, evoke a sense of the organic and impermeable as regards the potential in Public Art installation and visual engagement.

作为知名艺术家，郑路常常将中国传统诗歌与文学元素融入雕塑。他近期的一系列作品体现了公共艺术装置的潜在可能性，又不乏视觉的契合性，制造出整体而封闭的效果。

Often regarded as a creative trajectory which is reliant on predominent theories which correlate architectural priniciples, urbanism and individual cognition and intervention, Public Art practices have often sorely confused the process of an organic component in their inception. In concert with the latent subtexts of poetical and spiritual attenuation, references derived from the word rather than visual heritage of China, Zheng Lu has effected numerous recent projects deserved of an analytical examination as regards the practice held as Public Art and intervention.

公共艺术常被看作是创作轨迹，离不开建筑知识、都市生活及个体的认知与参与。然而，该领域的创作也因此常常在一开始就混淆了其组成部分的发展路径。在中国的文字和视觉传统中，郑路选择了前者，借弱化了的诗性和精神性传递出深层含义，这在其最近的公共艺术和介入类作品中体现得尤为明显，尤其值得分析和研究。

郑路_淋漓_现场装置_不绣钢_2016_意大利Ca’del Bosco酒庄定制

The artists’ signatory Water Dripping series herein constitutes a major aspect in the quest to implement the sculptural as belonging to the public, visual interventions which arouse and engage the audiences whether conversant in academic, artistic and intellectual discourse, to that of the common pedestrian. Water Dripping returns to an essential philosophical conduit ascribed to non-rational positions and visually espouses the legacy of that heritage deemed intangible to the P.R.C. The fluid and organic is a poetical allegory and equally concrete manifestatation as concerns contemporary visual culture in the artists employment of the sculptural medium. While metallic, they are yet seemingly without limitation, spatial and kinetic in their compositional visual illusion. The refraction of light and the spatial parameters and adjacent materials which support the metallic objects in fact attenuate the importance of the act of viewing as being participatory rather than exclusive, and the resonance of tradition and contemporary lietmotif  converge to excite a debate, whether spoken or silent, in the response of the viewer.

在郑路的代表作《淋漓》系列中，雕塑成为具有公共性的视觉介入方式，无论是学者、艺术家、知识分子，还是普通人都可以成为其观众。可以说，作品在追问非理性哲学传统的同时，以视觉的方式诠释和传承中国文化中的无形遗产。在这里，作为当代视觉文化表达的手段，雕塑是流动的，自成一体，既是诗性的寓言又有具体的形象。作品为金属材质，其视觉构成却不失延展性、空间性和运动性。在光的折射、空间参数及支撑金属主体的周边材料的作用下，“观”的参与与分享作用降低，传统与当代的主题交织在一起，引起观众的讨论或思考。

郑路_淋漓_现场装置_不绣钢_2016_意大利Ca’del Bosco酒庄定制

A work recently installated at the China National Grand Theater further exemplifies the identical transmutation of traditional poetics towards a discursive physical form, the form in question presented in an organic symbolical representation of water in ascension while in dystension. In stark relief to the conservative while epic architectural motif of post-modernist design, the fore of fluid stainless is in stark juxtaposition with the sentinel mass of glass and steel rendered in circular form. The geometrical is thus in counterpoint with a radically different aesthetic, the sculptural installation by Zheng Lu enacts the legacy of organic materials, simultaneously reminiscent of water or wood, suspended in a tensile manner as the foreground to an orchestrated minimalismwhich echoes post-modern and minimalist architectural geometric assymetry.

最近在中国国家大剧院的雕塑群展上，郑路再次以离散的物理形式实现了传统诗学的转化。作品捕捉了水花四溅的瞬间，具有整体的象征意义，这与保守的后现代建筑设计的宏大主题形成鲜明对比，作品前部体现流动性的不锈钢与环形的玻璃钢体带来视觉上的冲突感。几何设计和特殊的审美之间的张力达到了极致。郑路的这件雕塑装置继承了有机材料的传统，令人联想起水或者木媒质在半空中被拉伸的样子，仿佛是极简主义风格管弦作品的前景，与后现代和极简主义建筑几何的不对称性有共通之处。

郑路_张弓无箭_1000cm(高)_不绣钢_漆_2015-2017_昆明广场定制

 A similar sense of complement and rupture is visually encountered with the installation of his sculpture wherein one witnesses an archer rendered in figurative exaction save for the non-descriptive detail of surface traits, diametrically inclined against the highly realistic bow by which he apparently shall release his corporal body from to a vista unseen. Beneath, we have the ultra-neon glare of electric blue, the radiance of traces in a linear direction beyond the line of actual sight, while adjacent, we have yet again the architectural framework signatory of areas of the metropolitan experience owned by the vast topography of urbanism known throughout the nation in an era of collossal and rampant “renewal”. The latent tension of the archer and the fragile equilibrium which appears to suspend his figure, rendered distinct by compositional opposition with the planar field, equally lays emphasis on the sense of the individuals of today in a metaphysical balance, a precarious one, with the forces of science, urbanism and the vicissitudes of a technological life.

他的雕塑中同样也体现着互补与分离。如果不是非描述性的外部细节形态，我们可以说这是个栩栩如生的弓箭手形象：他的身体抵着高度现实的弓，倾斜着，眺望着不可见的远方。作品的下面，我们可以看到霓虹的亮蓝色，超越了视线所及。站在作品的旁边，可以感受到全国上下轰轰烈烈的“复兴”背景下的大都市生活。郑路正是通过平面的造型对比突显一个事实：突出弓箭手和极其不稳定的平衡之间的潜在的张力是整部作品的支撑。作品同时也反映了在科学、城市生活及科技生活的夹缝中生存的个体的精神世界的困境。

An act of greater comprehensive versatility which acts to collate the spatial with the evocations of the sensual, the artist brought the same material process of stainless and organic approach to the sculptural act to envision an inacandescent display of immediate natural symbolism. The ephemerality of nature is herein represented by leaf life objects which rise in multiple tiers as they would in savage wilderness, without a determinant order or geometrical pattern, yet the minitiae reveals that their own intricate veins yield visual evidence of an assymetrical convergence of the organic in their infitesmal tracework. Delicate, the leaves and membrane wrought in stainless suggest a paradoxical truth, the artifice of illusion and the actuality of origin: that of nature reflected within the contemporaneous of art while remaining indissoluable with the force and natural course of an organic methodology which exists throughout time. The emphasis in the installation does not seem intent on mere replica or spatial adornment to the interior of the architectual base where it is found. Rather, emulates the symbiotic potential and quality found in a dyanamic born of visually contrastive elements, wherein the installation of an highly visceral organic aesthetic converges with the actual urban confine, here, an interior, and is less visuall confrontational than as with the predecessor installed before the China National Grand Theater. The sense of complementation is not an artistic apologia, their lies a strong element of symbiosis and to a degree, spectacle, given the incandescent magenta light which refracts throughout the installations organic ascent amid the structural logic of design.

郑路是一个具有综合实力的艺术家。艺术家认为感觉为空间处理的前提，所以不锈钢材质和整体有机的创作方法的物质过程被纳入雕塑创作，以白炽灯效果实现最直接最自然的象征主义。多层次叶状物以自然的状态存在，如在野外一般恣肆无序生长，叶子层层覆盖，体现了自然的无常，然而它们不对称的形态和极为精确的细节由精细的叶脉展现出来。不锈钢制作的叶子和薄膜提出了一个悖论，一个人工幻觉与万物起因的悖论，即艺术在表现同时代的自然时，可以摆脱自古以来就有的整体方法论的力量与自然过程的影响。装置的意图似乎并不是模仿或是从空间上对内部建筑基座装饰，而是发掘视觉冲突的元素之间的共生性和共生潜力。强调内在整体美学的装置和具体的城市建筑内部相结合，与中国大剧院上次展出的作品相比，这一次视觉上的冲突得到了缓和。这里说的互补与艺术的辩护无关。溅起的水花在白炽灯光下取得效果也体现出作者的设计结构上的逻辑性。

郑路_月_150cm(直径)_不锈钢_2017

The ephemerality of existence and nature operates within a spatial illusion which returns to the sense of the cosmic and eternal byeond the cityscape in his most recent installation in Shanghai. Echoing Song Dynasty architecural structures, one witnesses the reflection of a metallic circle embedded in water, with the upper arc reflected upon the surface. The reddish hue reflected upon the highly textured surface recalls the phenomena of the Blood Moon, one of the rarest incidences in lunar time, while in the distance, a video cycle recurs to mimic the third dimensionality of the creation in two dimensional artificial time. Established on a roof with the expansive vista of the sprawling metropolis of Shanghai, we have an intentional micro-cosmos benath the actual, in pivotal contrast with the actual architectural archipelago of humankind. Thus, the celestial element further the sense of public engagement as it sychronomously enacts the mnemonic faculty, poetico-symbolic intangible heritage & serves to amplify the arena of Public Art in a stratification of the optical parameters of bringing the third dimension to a pan-dimensional experience.

郑路最近在上海展出的几件作品通过空间的幻觉反映了自然和存在的无常，这是都市之外宇宙与时间的时空主题的回归。作品“回到宋朝”是一个建筑结构，水中的金属圆弧反射出的光又将作品弧形的上半部映射在水面。红色的光反射在极有质感的物质表面，令人想起一个极其少见的天文现象“血月”。从远处看，影像作品反复循环，在一个平面的人工时间内模仿三维创作的效果，从屋顶俯瞰，大都市上海在向四周拓展。在视觉所及的范围之内，我们在人造“群岛”之外创建了一个小宇宙。因此，在模仿和借鉴诗性与象征性的传统的同时，公共艺术的领地在视觉上进一步扩大，让观众从三维世界中得到泛维的经验。从这个意义上说，天空的元素进一步拉近了作品与观众的距离。

In essense, these recent creations embody a process deemed organic as being an indelible potential as regards the horizons of Public Art beyond conservative terms. Without precondition or theoretical preambule, Zheng Lu has come to articulate the immediacy and utmost importance of an aesthetic kinesis in emply of the sculptural medium. His polyavlence as a dramaturge of the visual amid the technological manifestations of science might insist that the audience deliberate and weigh the experience of the quotidien, while the powerful yet sensitive attention to the visual experience, whether microscopic or macroscopic, suggest an individual capable of a mastery of attention in the expression of states concrete or void.

从本质上说，郑路最近的作品已经超出了传统的公共艺术的范畴，具有绝对的潜力，蕴含着 一个有机的过程。在没有前提或先行理论的情况下，郑路展示出了雕塑这一媒介在捕捉和表现美的运动这一过程中的重要性。他的作品像是科学的技术外在形式，又像是视觉的戏剧作品，引起观众对生活的日常性的反思。与此同时，人们对强大而敏感的视觉体验，无论是宏观的还是微观的，都表明了个人对实在和虚空状态下的注意力的把握。

One may then ascribe, with greater potency, the transcendence of automaton and mechanical time with a spatial time, an aesthetics which stratifies and quietly ruptures with predominant contemporary and urban theoretics, this is the poetical ascendence of a non-axiomatic grace written within a consciousness of nature organic and heritage effluvious rather than the narrow precepts of the industrial era’s vanity. The erasure of geometry impossible, the continuum of organic time enacts a paradigmatic essentialism.

有人可能坚持将自动化和机械化的时间强加于空间意义上的时间。这种美学会同主流的当代理论与城市理论一起把时间划分为不同的层次，并悄悄地将时间分割。当自然和传统的弊端有了深刻认识，同时摒弃了工业时代的空虚，艺术家就有了非公理性的诗学，并赋予其如此的权威。由于几何的结构无法消除，作为连续体存在的整体性的时间也因此获得了范式上的本质。

 R. A. Suri

西安

2017年6月25日

  关于艺术家    

郑路在近几年来不断的个人实践当中逐渐构建和完善了自己的艺术逻辑和语言系统。他将物质、文字、水、时间、空间等概念纳入自成体系的观念构架中，形成了个人独特的语言表现方式。同时也借此来暗喻生命状态的多样性和可能性，及如何应对自然、自性和自我之间的关系。