Oriental Art Master Asks Zhu Wei Ten Questions
One
In the past, the majority of your work has been inspired by music or a combination of world events. How did this happen? What is the connection between these elements in relation to traditional scholar paintings and contemporary art?
Since the late 1980s and throughout the 1990s, most of my ink paintings have depicted daily scenes such as cracking sunflower seeds and chitchatting, bearing a resemblance to stories from the Ming and Qing periods. For example, Beijing Stories, essentially encapsulates all facets of daily life, and yet at the time I thought I had left things out. I was meticulous not because I had just graduated and wanted to paint everything in my own style, but because the atmosphere of the day supported a spontaneous type of creativity. Everyone around me was motivated at the time by this atmosphere. Just like the Olympic games, which recently ended, each individual had the impression that they were doing something related to the Olympics regardless of what it was--everyone looked like a volunteer and sensed the imminence of something major happening. Sports make people happy and give physiological balance. For example, an athlete waiting at the start line, wouldn’t feel a toothache or the urge to fart. In fact, sports offer an opportunity and unite the minds of the people in equality. My meticulous ink paintings from that period were an attempt to document everything, so I wouldn't forget. As for music (Rock N Roll was the most popular genre of the day), it is nothing more than a tool. Just like a person searching for a place to vomit or defecate after overeating, he would not care whether he did the deed in a traditional or modern way, but rather, whatever gets the job done.
Two
Your experience has obviously been influenced by western ideas, while your work in contrast has always maintained a composition and creative line characteristic of Chinese painting. Is it fair to assert that a contemporary approach has been the backbone for creating Chinese paintings? What are the setbacks and challenges of this？
Not only have my experiences been significantly influenced by western concepts, but the Chinese people have been influenced by western thoughts and trends collectively throughout the past century. Just like international architects have been coming to China to build houses throughout the past century －this has been the experimental plan for western ideas. From the Westernization Movement, to the One Hundred Days Movement, to the May Fourth Movement, to the Socialist Movement and so on and so on…tell me which has not been directed by western theories and studies? Even during the chaotic Cultural Revolution, blackboards, films, and slogans plastered along the streets reminded us to continue the revolution under Marxist-Leninist and Mao ideology. Obviously Marx and Lenin were not locals but what they created were theories and "isms." We, on the other hand, only had a school of thought that functioned to aid the indoctrination of these theories, which demonstrated the level of western thought in China. Growing up, I was subconsciously influenced by such intellectual trends. And these trends have been diffused throughout my blood, as a backbone, thus nothing is a true obstacle or challenge.
Three
Over the years, the exploration of distinct features and reinventing the use of Chinese rice paper have become important aspects in your creative practice, which results from your in-depth understanding and execution of this material. Yet, you have not been completely absorbed by it and deliberately remain objective with the material. Do you often keep a distant relationship with the world you are familiar with?
The selection of material is a matter of technique, an artist’s means for survival. Once you are familiar with the material, it is easy to find various aspects that are not worth mentioning. To keep a certain amount of distance is like having to constantly step back to look at the overall image in order to prevent going astray. The artist should always maintain a critical attitude towards society. Otherwise, what would his role be?
Four
From your artistic expression, one can notice your meticulous attention to detail. Is this mirrored in other aspects of your life as well? Is there any contradiction in your spiritual life and day-to-day life, or are these elements in harmony?
To be careful in life is to avoid unnecessary problems because I don’t want to create problems for myself. It is impossible for one’s spiritual life to be in sync with everyday living, and even less so to be very harmonious.
Five
What do your works mean to you?
Everything.
Six
Today the art market is a concrete topic for an artist. In your opinion what has the market given to the artist? What kind of influence does the artist have on the market?
It has always been tangible. In the past, the artist has used their artworks in exchange for eggs, natural gas tanks, favors, and now, money. There is always a way for people to improve their lives. The market is the basis for the artist’s survival, by which the artist can offer better returns to society. No starving artist would be in the mood to paint. Of course, it does not involve speculation, which ultimately turns the market into murky waters.
Seven
In your view, what is the condition in which the artist practices art?
The artist is foremost a person, thus whichever condition would satisfy his urge to create.
Eight
Is it easier for you to create new work or subvert the past?
Innovation and subversion are in fact the same. While the new is created, the old must be subverted. Of course, this excludes imitation. Imitation makes one unable to distinguish whether one is making something new or playing with the old. Artists and scientists are admired because they are always exploring new things regardless of success.
Nine
The medium in which contemporary art is presented tends to be mixed. What is your opinion on such phenomenon? What would you like to be referred to, an artist or a painter?
The term contemporary art itself displays a lack of self-confidence. Like the buns on a steamer, if they are letting off steam, then they must be fresh. So it is useless to over emphasize as it gets quite annoying. As to which medium, I think anything goes as long as the idea comes across clearly. Otherwise, it’s idle. As for me, the distinction between a painter and an artist is: those who know how to paint are painters, those who can’t are artists, unto each his own, as long as one has a skill.
Ten
Your paintings incorporate many motifs and symbols from traditional Chinese painting, and you have studied the lives and thoughts of famous Chinese and western painters. Does this influence your attitude towards your way of thinking and lifestyle? Who are the artists you admire and respect? What characteristics have inspired you?
Working on something overtime produces fear, so one wants to know what his predecessors and contemporaries have accomplished. No one truly admires or detests other work, it’s all about boosting self-confidence. I enjoy Shi Tao and Bada Shanren because they are both ink painters and I feel akin to them. In fact, Andy Warhol and Gerhard Richter are also excellent artists, but I always feel something separates us, that there is something irrelevant to me.
《东方艺术·大家》 2008年10月上半月刊 总第167期
《东方艺术·大家》给朱伟的十个问题
壹 过去，你的大部分作品都诞生于音乐和鲜活的世态万象，他们是怎么被创造出来的？那些形象与传统文人画和现代艺术的关系是怎样的？
80年代末和整个90年代，我的水墨画基本都是在嗑瓜子，唠家常，有点像明清绣像章回小说。比如《北京故事》，基本上快把人间万象全包括进去了，就这样当时我还觉得有好些事还拉下了。罗了罗嗦的并不是因为当时刚出校门，才开始创作，啥都想画，而是当时的气场很容易让你提笔就来。因为动机有了，身边的每个人都有和你相同的气息。就像今年闹奥运一样，你会觉得每个人都在做和奥运相关的事，不论做什么，都像个奥运志愿者，每个人都感觉有大事要发生。
大凡运动都会让人心情愉快，生理协调，就像运动员站在起跑线上，没人在那时候还觉得自己牙疼或者有个屁没放。因为运动对于每个人来说其实就是一个机会，而且万众一心机会均等。
当时我的水墨画罗了罗嗦的就是想把这些都记录下来，免得以后忘了。至于音乐（当时的摇滚乐最流行）无非是把这些东西下载下来的一个工具。就像吃了一堆东西总得找个地方要不吐出来要不拉出来。捂着肚子碎步找地儿的时候，绝对不会想着是以传统的方式还是现代的方式把它拉出来，肯定是哪个顺手就用哪个。
? 你的经历中有明显的西方思潮的影响，而你的作品中，又始终保持了中国画的图式和创作方法，是否可以说当代艺术的方法论支撑着你传统中国画的创作？这之间的困难与挑战为何？
不是我的经历有明显的受西方思潮的影响，而是咱们大家伙儿全体中国人最近这一百年来都没少受西方种种思潮、流派的影响。就像现在全世界的建筑师都来中国盖房子一样，这一百年来，咱这儿就是西方思潮的一块试验田。
从洋务运动、维新变法到五四运动，再到社会主义运动等等等等，哪个不是在外国的种种理论、学说指引下？连最混的文革时期，街头巷尾，标语、板报、电影也都是在最醒目的地方和时段提醒大家，我们是在马克思列宁主义、毛泽东思想指引下将革命进行到底的。马克思列宁二位肯定不是本地人，但他们创造的是理论是主义，咱们的只是一想法，是为了配合前两位的理论在中国落地，可见西方思潮在中国的影响力有多大。
从小到大毫无知觉的在这种思潮的影响下笼罩下，它已经溶化在你的血液里，拿它干什么都没有困难，更没有挑战。
叁 多年以来，对中国宣纸特性的挖掘和再造一直是你艺术创造的一个特殊步骤，这源于你对宣纸特性的深刻理解和掌握，但你并未沉溺于其中，而是选择跳出物外，你时常会保持与你熟悉世界的疏离关系吗？
材料是个技术上的事，是一个艺术家赖以生存的手段，这事弄时间长了必定会有这样那样的一些小窍门，不足挂齿。
保持点距离就像画画的时候，要不停的退后观看整个画面，不至于画歪了。
艺术家和社会应该始终是一种批判关系，不然要你何为？
肆 你在你的作品表达中，可以看得出细节处十分讲究，在生活中是不是也同样要求？你的精神生活和现实生活是否有矛盾，还是十分和谐？
生活上严谨点是不希望有麻烦事，自己不要给自己创造麻烦。
每个人的精神生活和现实生活都不可能和谐，十分和谐就更不可能了。
伍 你的作品对你来说意味着什么？
全部。
陆 在今天，市场对于艺术家并不是一个不可触碰的话题，你认为市场给予艺术家了什么？艺术家又影响了市场什么？
一直都可以触碰，以前是艺术家拿作品换鸡蛋、换煤气罐、换人情，现在是直接收钱。人要想活得好点，总有办法。
市场是艺术家生存的基础，有了市场艺术家才会回报给社会更好的作品。一天到晚饿得跟三孙子似的，哪有心思坐下来画画。
当然这里面不包括炒作，炒作会让市场变得模糊。
柒 你觉得艺术家应该在一种怎样的状态下从事艺术创作？
艺术家首先是人，如果想创作哪种状态都是应该的。
捌 创造新的和颠覆旧的，对你来说那个更容易做到？
创新和颠覆是一回事。创造了一个新的，肯定就同时颠覆了一个旧的。
当然模仿除外。模仿会让别人无法判断你是在弄新的，还是在捣鼓旧的。艺术家和科学家让人尊敬的地方就是他一直在探索新东西，无论成败与否。
玖 当代艺术的媒材已越来越趋向于综合媒介，你认为这现象是好是坏，你更愿意称自己是艺术家还是画家？
当代艺术本身就是一不自信的词儿，就像蒸了锅馒头，如果它还冒着热气，那它肯定是新的，别老强调，烦。
至于趋向于什么媒介，都行，说清楚了就好，说不清楚或者滥竽充数就不好。
对我来说画家和艺术家的区别就是：会画画的叫画家，不会画的就叫艺术家，八仙过海，都有活干就行。
拾 你的画里借用了许多中国传统绘画的图式和符号，你对中外古典绘画大家的生活和思想也有所探究，这些了解对你个人的生活态度和处事哲学有无影响？你所景仰的艺术大家有哪几位？在那些方面受到他们的启发？
从事一件工作时间长了，有时候会发毛，很想看看别人是怎么干的，比如前人啦，后人啦，就是为了给自己壮个胆，没人真心佩服或者忌恨某一个人的。
石涛、八大因为也是画水墨画的，觉得亲近，很喜欢。其实安迪·沃霍尔、里希特也不错，不过总觉得隔着点什么，搭不上话。
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