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Artist Magazine of Taiwan March 2013
Ink Painting with Rebellious and Rock 'N' Roll Spirits— Zhu Wei, Contemporary Chinese Artist
By Xu Yuling
Most people are impressed with Zhu Wei’s figures with tomato heads and audacious color, his painting elements combing ancient and modern elements, idealism, Chinese characters with Buddhist flavors as well as his close observations of society and human relations. In technique, traditional boneless Gong-bi coupled his own innovation won Zhu Wei praise in exploration and expression of contemporary Chinese ink painting.
Born in Beijing in 1966, Zhu Wei studied at Art College of the Chinese People’s Liberation Army, Beijing Film Academy and Chinese National Academy of Arts successively. His works embody highly sensitive elements of politics and social changes since he joined the army in the 1980s. Born into a military family, Zhu Wei joined the People’s Liberation Army at 16. “Soldiers have the same emotions like others, but they may lead a more bitter life.” Zhu Wei commented with a smile. Being an art soldier, Zhu Wei always has to write some slogan, and that helped him develop good handwriting and his unique observation of the relation between political propaganda and social ideas. After being a solider in the PLA, he was admitted to the Art College of the Chinese People’s Liberation Army where he started his art journey.
“I didn’t go back to the army after graduation. I was dismissed. I just knew I didn’t want to go back and then I applied for Beijing Film Academy.” Zhu Wei said. Students graduated from the Art College of the Chinese People’s Liberation Army must be assigned back to the army, but out of thirst for free creation, Zhu Wei embarked on another road. Since 1993, he had been participating international exhibitions with ink paintings. Later, he signed with the Hong Kong—based American Plum Blossoms Gallery.
Interaction with the Society
“I painted political subjects in 1992 and 1993 when China was basically a political society which also drew particular attention of the westerners.” Zhu Wei said. Sometimes there is a huge gap between a comment or interpretation and what the painting meant to say because the westerners tend to exaggerate political elements and add their own speculations when they view contemporary Chinese arts. “People view things at different angles because of their different backgrounds. That makes works more attractive.” Zhu Wei said.
Zhu Wei had a more comfortable life compared with artists of his age since he began cooperating with galleries in as early as 1993. Besides painting, he also took part in rock music activities. “I have time and capacity to do it.” Zhu Wei said. The wildness, banter and ideals of rock music made his painting more vibrant and full of rhythm.
People are curious about why would this passionate rock music lover choose ink painting as his creating media and especially Gong-bi. “I learned ink painting at the very beginning and I drew ink painting when I cooperated with the Plum Blossoms Gallery in the early 1990s. Back then, I didn’t consider too much about the type of painting, it’s all the same, I just focused on subject. It’s in recent years that ink painting has been attracting business attention” Zhu Wei said. He didn’t get restricted to Gong-bi, for him, what matters is how to express himself clearly.
Zhu Wei has always insisted that art must interact with society. “Everyone has his own preference. I can’t just paint still life.” Zhu Wei said.
The Story of Beijing, Sweet Life, China Diary and Tightrope created since the 1990s were all subjects drawn from reality, however, Floods, Utopia, Red Flag after 2000 are simpler with fewer narrations and more metaphors and implications.
“My paintings were quite full in the 1980s and 1990s; now I paint simpler ones, nevertheless, the language seems to be stronger. Back then, my language was weak so I had to add various subjects to make people understand; now I can communicate my form and emotion with simple lines.” Zhu Wei said when looking back at his works. He also admits that his early works looked like New Year pictures, since that is the most expressive method to reveal people’s lives. In his eyes, an artist must go through that narration-focused process. He demonstrated outstanding performance in integration of traditional ink painting and contemporary subjects, quotation of classic art thoughts and transmission of realities after that period of trail and error.
The Integration of Character
“I use what is the best form to portray, while ink painting is mostly used by me.” Zhu Wei said. Besides ink painting, Zhu Wei also creates prints and sculptures starting in the 1990s with figures and subjects derived mainly from ink paintings. At this point, Zhu Wei says he will focus on ink painting while suspending sculpture creations.
Zhu Wei thinks he has made breakthroughs in both expression methods and techniques in his new creations. “These works can withstand the test of time and I’m satisfied with the technique, composition as well as subjects.” Zhu Wei said when mentioning his new work The Ink and Wash Research Lectures series.
Quite a few people noticed that Zhu Wei almost stopped creating for five years after ending his contract with the gallery. “I feel sleepy whenever I want to paint, so I painted few works in those five years. I was so tired after being urged to paint.” Zhu Wei said. According to him, he watched his painting album everyday, looked at his former works, and wasn’t in a mood to create until 2012. “This time, I prefer simpler pictures with some emotions. It’s essential for artists to integrate their characters into painting for what contemporary art conveyed is more about emotions. Gong-bi is different from realistic painting.” Zhu Wei said.
Symbolized figures, red flag, banana leaves and water waves still can be found in his new creations, while his once apparent emotions have become hidden, showing his ink painting skills and life thoughts in details. Narration has decreased in his new works. For example, there are some pictures of pure red flags in his Red Flag series. “In fact, I want to paint pictures like the pure red flag. Many people regard them as abstract paintings, while I think that’s purer.” Zhu Wei said. Some figures are actually supplementary elements against the backdrop of red flag. Meanwhile, the red-cloth red flag has not just changed people’s feeling about it and reduced its political implications, but also added more imagination to the picture.
Thoughts and Techniques
In Zhu Wei’s perspective, though ink painting pays more attention to techniques, but it can absolutely release its meaning when breakthroughs of techniques are made. “I’m interested in new things. Many people think ink painting has nothing to do with rock music and they are two incompatible things, but I feel my works can totally integrate with rock music and the contemporary era. Ink painting needs to keep pace with the times so they can’t always paint carrot or cabbage. It’s pathetic when people can’t tell an ink painting’s creating period and it makes no sense to only paint the same materials.” Zhu Wei said when talking about how he sees the relation between Chinese ink painting and contemporary Chinese art development.
It seems traditional bandage or rapid formation of “contemporaneity” also stand in the way of the contemporary Chinese art.
“As contemporary art was not born in our homeland, the artists, critics, art dealers can only act like what railroad guerrillas did when they were fighting the Japanese soldiers--everybody holds a rake, as long as there is a train driving near, regardless of the consequences, they use their rake to pull the stuff out of the train, no matter how much they can rake off. ” Zhu Wei once said in his article Richter﹒Contemporary Chinese Art. That was when he reflected on his creation and stopped creating temporarily.
For the development of contemporary Chinese art, Mr. Zhu thinks its special character was born into a special time and environment. Zhu Wei has become more persistent in pursing ink painting and he is convinced that it has the capacity to demonstrate contemporary subjects after fives years of self-reflection.
He also thinks that some painters will show off their skills when they come to a certain level but without ideas. “I hope viewers notice my lines or techniques after they feel something from them not vice versa. Good paintings can both convey thoughts and withstand the test of techniques. ” Zhu Wei said. Besides breakthroughs in subjects and techniques, he is also known for his audacious color. “I don’t need to be modest about that. Many people don’t dare to color like that, fearing not to be like ink painting. But I’m courageous and I have confidence in my paintings.” Zhu Wei said with a smile.
台湾《艺术家》杂志二零一三年三月刊艺术家专访
透着叛逆与摇滚精神的墨彩——中国当代艺术家朱伟
撰文/许玉铃
观看朱伟的画作，多数会对其独特的马铃薯头人物形象及大胆的用色留下印象：再进一步细看，他画作中融合古今元素的安排以及带有理想主义情怀及禅学趣味的中文书写，又让人深刻感受到他对于社会及人情的细腻观察及表达的张力。而在技法的表现上，传统没骨工笔的运用加上自己的创新尝试，也让朱伟在中国当代水墨的探索及表现上备受肯定。
朱伟，1966年生于北京，先后就学于解放军艺术学院、北京电影学院及中国艺术研究院。若是从艺术家的北京探究其创作思想，那么朱伟在1980年代的一段从军经历，或者也是让他作品表现出对于政治及社会变化高度敏感的因素。朱伟出身于军人家庭，十六岁时加入中国人民解放军。“其实军人的喜怒哀乐跟一般人一样，但可能生活得更惨一点。”朱伟笑道。由于当时担任的是文艺兵，他经常得手写些宣传标语。除了字练得特别好，他对于政治宣传与社会思想之间的关系也有独到的观察。在部队当了几年兵后，朱伟考进解放军艺术学院，开始他的艺术历程。
“毕业后没回去，被开除了。当时找了各种原因不愿意回去，然后我又去考了电影学院。”朱伟说道。由于解放军艺术学院毕业后必须分配回部队，而他当时或许是出于对自由创作的渴望，走了另一条道路。自1993年起，朱伟开始以水墨作品参与国际大型展览；后来，很快与设立于香港的美国万玉堂（Plum Blossoms Gallery）签约。
与社会互动
“我在1992、1993年开始画的作品都是政治题材。中国基本上就是一个政治社会，西方人也特别关注中国社会的转型。”朱伟表示。虽然西方人看中国当代艺术作品，总是容易将政治元素放大并加入自己的臆测，有时作品的评论或解读会与画价本身的想法有很大的差异；但朱伟认为这亦无妨，“这时因为大家生存环境不同，人们会从不同的角度来观看，这也是作品吸引人的地方。”他说道。
由于1993年即开始与画廊合作，朱伟在创作及生活的条件上相较同期艺术家也显得安逸些。当时，除了画画，他也参与摇滚乐活动。“因为我有时间，也有能力去做。”朱伟表示。摇滚乐的狂放、戏谑与理想，渗透于纸墨中，也让他的画作显现出特别的节奏与张力。
让人好奇的是，当时这位喜爱摇滚的热血青年，为何会选择水墨为创作媒介，并且着重于工笔？“我一开始学的是水墨画，在1990年代初与画廊合作时，也是以水墨为媒材。当时我没感觉有水墨不水墨的事，水墨是这两年商业化的关注。当时没有特别想过要用什么样的媒材，都差不多，只有题材关注，没有媒材关注。”朱伟表示。他画水墨，更多还是从材料上来表现，不限于工笔，重点是将他想说的事说清楚。
艺术必须与社会有互动，这时朱伟在创作上坚持的一个重点。“每个人关注的重点不同。专门画静物，我画不了。”朱伟说道。
朱伟自1990年代开始创作的《北京故事》、《甜蜜的生活》、《中国日记》及《走钢丝》等系列，都是从现实中取材。到了2000年以后他创作的《大水》、《乌托邦》、《红旗》等系列，画面逐渐从繁复趋于简练，作品中的叙事性亦逐渐削弱，转化为隐喻及暗示。
现在再回过头看自己的作品，朱伟认为：“在1980、1990年代时，我作品的画面都是很热闹的；到了晚几年画得越来越简单，语言反而强了。以前语言弱，如果不套用各种素材，别人看不明白，现在简单几个线条让别人了解，传达你的形式、你的情绪就可以。”朱伟不否认，他早期作品有点年画的感觉，因为那就是最贴近民间生活的表现手法；不过那种强调叙事性的创作，在他看来也是一个必经过程。经历这段探索与尝试，也让他对于传统笔墨与当代题材的融合、以及古典艺术思想的援引与现实感悟的传达，有出众的表现。
性格的融入
除了水墨画，朱伟也创作版画及雕塑，“用什么表现最好，就用它，但用水墨多。”他说道。版画与雕塑创作，也都是从1990年代即开始，形象与题材主要是从水墨画中发展出来。而现阶段，朱伟表示将暂停雕塑创作，以水墨画为主。
谈起自己的新近创作，朱伟认为自己在表现手法及技法上都有所突破。尤其是他2012年新作《水墨研究课徒》系列，“从技法构图到题材都让我很满意，作品经得起推敲。”朱伟表示。
有许多人注意到，朱伟在与画廊结束合作后，有将近五年时间几乎中止了绘画创作。“之前的五年画得很少，有点画伤了的感觉，一提画画我就困。因为很早就跟画廊合作，画廊老催，催得烦了。”朱伟说道。在这五年时间里，他天天看自己的画册，看自己以前的画，在2012年才又重新进入新的创作状态。“重新开始创作后，我觉得画面不能那么罗里罗唆，尽量能带点情绪。当代艺术更多的是传达人的情绪，艺术家个人的性格融入很重要，工笔不能跟写实的感觉相似。”他表示。
在新近创作中，标志性的人物、红旗、芭蕉叶及水纹依然可见，而他在创作上的情绪则是从显转化为隐，在细节中更沉静地表现出他的水墨功力及生活感悟。叙事性的削弱是朱伟近期创作的变化之一，在他的《红旗》系列中，也出现几张纯粹红旗的画作。“其实纯粹红旗那种，是我挺想画。这些作品，很多人当抽象画来看。我觉得那个更纯粹。”朱伟表示。在红旗背景下，有些人物反倒是搭配的安排；而只见红布的红旗，既改变了人们对红旗的直观感并消减其政治指向，也让画面有更多想象空间。
想法与技法
对于中国水墨画与中国当代艺术发展的关系，朱伟认为，尽管水墨画更多的是注重技法，但其实在突破技法时，完全可以将意义再表现出来。“我对新鲜事物很感兴趣，很多人觉得水墨画跟摇滚没关系，水墨与当代东西根本不合，我觉得我的作品跟摇滚及当代都能合。水墨画不能老跟萝卜白菜有关，得发生改变。有的水墨画看不出是哪个年代的，这就很可悲了，因为画的东西一样，没意思。”朱伟表示。
传统路数的束缚或者“当代性”面目的速成，现在看来也是中国当代艺术的困顿之处。
“由于当代艺术这趟火车不是从自家开出来的，艺术家、批评家、艺术二道贩子等等等等，大家摸不着头绪，只能玩当年打日本鬼子时铁道游击队那手，人人手里都拿着耙子，只要火车开过开，不管三七二十一抡圆了就是几耙子，划拉多少算多少。”朱伟于2008年撰写的《里希特·中国当代艺术》文章中如此写道。当时，他亦暂时搁下画笔，静下心来反思自己的创作。
对于中国当代艺术的发展，朱伟认为它显现出一个因应特殊时代、特殊环境背景而形成的特殊性格。经历五年休止创作的反思期后，朱伟对于水墨媒材的运用更加执着，并且相信笔墨完全可以用于表现当代题材。
而从水墨画家的角度来看，朱伟认为，许多画家画到一定份上，会炫耀自己的技术，但却没有想法。“我若是要让你觉得线条好，技法好，是在你看到画作有感觉之后，不能让技法完全跳到前面。好的画作是它既传达了想法，而当你再细看技法时，也经得起推敲。”朱伟表示。除了题材及技法的探索与突破，朱伟画水墨的大胆用色也成为他的创作特色。“这个我不谦虚，很多人不敢这么用，怕不像水墨画。我画画还是挺猛的。”朱伟笑道。 |
