一件大理石雕是怎么完成的How is a marble carving completed
First, of course you need an idea
My idea is very simple - two human bodies shaped by the same stone, one breaks the other, the flexible illusion of a human body shaped by a rigid material breaks another human body with the same flexible illusion in a disordered time. I think the paradox generated by this material and time is very interesting. The stone sculpture gives the illusion of physical flexibility, But the fracture also implies the rigid nature of the material. In short, if the force exerted by the right human body on the left human body is established, the fracture of the left human body is absurd, and vice versa. There is a time point at the moment of fracture. If the human body on the left is rigid, should the human body on the right also be broken under the premise of rigidity at the moment of fracture? The visual effects produced by the human bodies on both sides are logically very chaotic, but they are interrelated. If it is right, it will result in error, and if it is right, it will result in error.
无题 布面油画Untitled oil on canvas. 180cmX180cm 2005
So I painted such an oil painting. It's good. I basically explained it. In fact, no one understood it at that time, and I refused to explain. I just said that the things in the painting were very simple, and my paintings were a little inexplicable, but the strange relationship between the stone statues in this painting was very attractive. In the 2006 exhibition, Sami, the owner of the art scene Gallery, said that he could sell this painting ten times, But I stayed.
A friend said when watching the exhibition that you should really make it into sculpture. I said OK, so the next year I began to make small sketches of sculpture.
Clay sculpture must be made on a skeleton made of iron wire and steel bar. I make clay manuscript quite fast, but I hate building shelves, so far.
Everything is going well. I made it into cast copper in order to go down in history. Now there is one in the studio. However, the bronze sculpture is still far from my idea. First, it is too small. A seemingly simple thing actually needs a higher voice to be effective. Second, the soft metal copper has nothing to do with breaking a dime, so I began to plan to make it a marble Titan more than two meters high.
Of course, the script of Prometheus in 2006 has not been released until the end of 2012. Their Titan probably plagiarized me. Unfortunately, his producers have poor modeling ability and their muscles are like a pile of loose silica gel.
无题 青铜 73cmX41cmX31cmX
So I began to make big clay. Making big clay means to enlarge the small manuscript into a 1:1 clay manuscript of the final product. I need about a few tons of clay. Believe me, the large-scale sculptures you see in China are basically not made by the undersigned. Some even don't make their own manuscripts. They are all made by students on a work study program. Many sculptors don't do such dirty work, But the great Henry Moore and I did these things ourselves.
小知识：北方的雕塑泥多是灰色的，南方只有这种红泥，过去在广州的时候很向往灰泥，现在更怀念红泥，long time no see。
Little knowledge: most of the sculpture mud in the north is gray, and only this kind of red mud in the south. In the past, I yearned for plaster in Guangzhou, but now I miss red mud, long time no see.
Isn't it very Titan
Why make an equal proportion of clay manuscript? Because the last part of the stone carving needs a strong, durable and accurate "model", so the large mud should be turned into FRP, and the mud manuscript should be divided into pieces of molds. Yes, first use a tool knife to make a hole in the mud manuscript you have worked hard to flatten, and then insert playing cards. Playing cards are the dividing line of the module.
For the first time, the gypsum slurry is sprayed with pesticide. People who don't work can't think of this idea.
After spraying gypsum slurry and then making hemp rope, paste gypsum slurry on the loose hemp to reinforce the whole shell, and then fix the wooden square. After a few hours, it can be worse one by one.
There are several pairs of playing cards between man and God
FRP is actually epoxy resin and glass fiber pasted on the mold. After curing, it is disassembled one by one and then assembled into one. F1 racing cars do the same, but carbon fiber is used.
Then, you need a piece of marble, big and as white as possible. My three pieces are 46 tons, and Guangdong also produces marble, but they are not so white. Therefore, the boss of the sculpture factory personally went to the mountains of Sichuan to find these three pieces, which are transported to Guangzhou by an 80 ton truck for more than 2000 kilometers. Like gambling on jade, whether there are natural cracks in white or not depends on luck. I'm lucky, If you have been to the Taj Mahal, you will know how rare pure white marble is. The marble veneer of the Taj Mahal is actually gray.
Cutting marble requires an ancient technology, which is very simple and smart. First drill a row of holes in the place to be cut, and then fill it with expansive agent powder. Add water expansive agent to expand, and the stone will crack regularly. In ancient times, it was probably to put soybeans or other seeds in it, add water to make the seeds germinate and expand. The strength of the seeds is unimaginable, It is said that this method is also used to separate the four skulls for the first time.
Three point positioning find the fourth point to make stone carving. I don't know who invented it when. Ancient Greece and Rome probably did this. First find three reference points on the proportional mold (Michelangelo made an proportional clay sculpture with straw to make it dry as a mold), and then beat these three reference points on the stone. These three points are the basis of all shapes in the future, The principle of this copper space ruler is very simple (according to teacher Liang Mingcheng, the prototype of this ruler was brought back from Italy). After the three reference points fixed on the mold are set up, use the movable probe fixed on the ruler frame to find out the marked fourth point, mark the probe with a red pen, and then move the ruler to the three reference points on the stone, Use a chisel to chisel out the point remembered by the probe bit by bit, which is the same as the principle of current 3D engraving technology, but scan a point and chisel a point. So the stone carving masters are not doing sculpture. They are just repeatedly redoing a three-dimensional geometric drawing - looking for the top point of a tetrahedron with a fixed bottom, and looking for it point by point.
This is a vast project. Each point takes a long time. Finally, a face has to carefully chisel out about 500 points on the marble. Finally, the stone between the points is ground flat. The appearance of the sculpture is basically the same as the mold. In order to prove that the points are found completely according to the mold, the stone carving master will leave those points at the end, There are pencil marks in the middle, which is also convenient for the reference of the final grinding process. If you go to the Louvre, you can check the marble carvings. Many of them still have these points on them. Rodin's stone carvings are the most, but I have ground them all away with my hands.
When all the points are found, it is the final grinding stage. If the simple sculpture can be completed by the workers, but the workers can't shape, the taste of the skin turning of the human structure can only be determined by themselves, that is, the last two or three millimeters should be ground by themselves with grinding wheel and sandpaper. The Mohs hardness of marble is only about 3, Grinding wheel and sandpaper with hardness of 10 are like playing with marble.
This thing has been made for two years.
"One of the two human bodies shaped by the same stone breaks the other. The flexible illusion of the human body shaped by a rigid material breaks the other human body with the same flexible illusion in the disordered time. I think the paradox generated by this material and time is very interesting. The stone sculpture gives the illusion of the flexibility of the human body, but the breaking also implies the rigidity of the material Quality, in short, if the force exerted by the right human body on the left human body is established, the fracture of the left human body is absurd, and vice versa. There is a time point at the moment of fracture. If the left human body is rigid, should the right human body be fractured under the premise of rigidity at the moment of fracture. The visual effects produced by the human bodies on both sides are logically very chaotic, but also They are interrelated. If they are right, they will be wrong, and if they are right, they will be wrong. "
Often simple ideas can cause great trouble.
无题 大理石雕 230cmX130cmX83cm 2006-2008
This sculpture was not really completed during the exhibition. I tried my best to maintain the thickness of the waist fracture, because the marble was still very fragile during handling. I wanted to finally put it in a relatively stable place and chisel the fracture to the appropriate size. In those two years, I only considered how to make it and transport it safely from Guangzhou to Beijing for exhibition, This thing is totally out of line with the Aesthetic Logic of the Chinese people. Even a director used this sculpture to deduce my sexual orientation. Therefore, it still stands stably in my yard and tirelessly displays a stone man who seems to have been broken off by another hard stone man a few seconds ago, without cultural background, historical background and political background, Too not profound, too not contemporary, too not avant-garde.
I don't need to refer to real people for painting and sculpture. The human body in ancient Greece is not realistic. It won't look good if Mr. world bodybuilder turns the mold to make sculpture. However, if an exhibition prepared for more than two years says that you don't study this thing out of thin air, it's too serious. So, After the stone carving, I found two Guangmei models to make up more than a dozen live portraits to make the exhibition look more serious and academic. This is also an academic fraud. Pretending to be stupid is also pretending. At that time, I thought that even if few people could afford marble, several people could afford painting.
In the end, less than half of the 46 tons of stones were used, and the others were scattered all over the ground. I suddenly thought it was too wasteful and unfair. I was a Libra, so fairness was more important than anything, so I drew two huge paintings, painted all the chiseled stones and took them to the exhibition.
The exhibition didn't sell for a penny. Not long after the end of the exhibition, the great new Beijing Gallery closed down. I simply stayed in Beijing because of the transportation problem of the three huge Sichuan marbles. Then, I would ski. It's very inspirational, isn't it?
I went to Jingdezhen to get a bu Ren Zhai and started making ceramic sculptures
Mr. Yang Xiaoyan wrote an article for the exhibition and posted it here today
A visual surgical knife
Limb thinking and slice imagination
Xue Jiye's visual scalpel
A visual surgical knife
Looking at Xue Jiye's oil painting creation in recent 20 years, I find that his artistic style basically presents three types. The first type can be roughly classified as realism. But his works of this kind, under the realistic appearance, hide a kind of despair sadness and a kind of boring excitement. The second kind of works, at first glance, seems to be overflowing with a surreal spirit, but after careful thinking, I think this spirit actually deviates from the surreal in the general sense. This kind of works has a kind of cruelty and a kind of comity. It is a kind of comity in cruelty, or on the contrary, cruelty in comity. The third kind of works, which Xue Jiye has been insisting on in recent years, take male strong limbs as the motif, pile up many limbs, or twist the same limbs against each other. This kind of works has a strange and unspeakable psychological depth, but through typological treatment, this possible psychological depth is abandoned, so there is a contradiction between stacking and confrontation. Recently, Xue Jiye has obviously been inspired by a more physical image, painting broken stones and scenes of stones piling up. Of course, this has something to do with his marble carving. At the carving site, the rubble all over the ground stimulated his appearance and made him realize that there is an integral connection between muscle and gravel.
While creating these three types of oil paintings, Xue Jiye is also engaged in sculpture. His sculptures show that artists have a unique experience of the relationship between form and space. From the perspective of sculpture itself, artists have an extraordinary understanding of the turning point of form. But that's not the most important thing. If Xue Jiye only focuses on the shaping of the body, even if the technique is mature, he can not better improve the strength of his works. Like his oil paintings, Xue Jiye's limited sculptures run through a temperament presented through sliced limbs.
Recently, Xue Jiye obviously found a correspondence in three-dimensional expression, which may be the internal reason why he has recently devoted himself to marble carving. In other words, Xue Jiye transformed the body combination presented in the oil painting into a solidified spatial symbol, which was reproduced on the stone, thus carving several groups of works with huge volume. These works are not only the extension of oil paintings, but also independent of oil paintings, and become independent spatial existence.
Around these works of Xue Jiye, I think several key words are quite important. These words can help us understand the visual complexity presented in his works.
The first word is "physiology". In Xue Jiye's works, there has always been a physiological feature closely related to touch, either explicitly or implicitly. Even, after a close look at his works, I found that this feature can no longer be understood by "touch", because it presents a gentle blood, an anatomical dismemberment. In a sense, I even think Xue Jiye has a yearning for dismemberment. Of course, we can interpret this feature as "surreal". In fact, from the perspective of picture effect, his works also accord with the general concept of surreality. But this view may not be in line with Xue Jiye's observation. In his eyes, the world is very physiological.
The second word is "slice". Here, I have to state that the meaning of "slicing" does not refer to a piece of meat cut neatly, but to a broken part. These components have the meaning of "slicing".
In my opinion, Xue Jiye is full of an almost morbid infatuation with "slicing". He often depicts slices of limbs. At one stage, in his works, the skull was skinned, the eyes were frighteningly highlighted, and the blood was floating in the background of nothingness like a thin red line. "Slicing" is often manifested as incredible amputation and imaginative reorganization of the amputated limb. If it's just a broken limb, it's just bloody. But Xue Jiye let the broken limbs be spliced and the slices reorganize their existence in the visual world like thinking creatures. In this way, the slices of Xue Jiye's works have independent lives, and they play their own roles, communicate with each other and don't know each other at the same time.
The third word is "limb". For Xue Jiye, the body is nothing but the body, but the body is not an ordinary existence, but there is an evolutionary significance. If Xue Jiye's works related to limbs for many years are put together, I think people will be surprised to find that there is a slow development trend in his description of limbs. First, the female body, a person, has symptoms of dismemberment and appears as broken slices. Then there is the group, a group of male human bodies, who organize into a strong army and March in a surreal environment. But they are also a person, a duplication of a person, or a continuous replication of a gene. Then there are the strong male limbs, with a symbolic sexy, local, exposing the inner desire. On the evolutionary ladder of limbs, one way is distortion and struggle. In this stage, there is a fierce conflict between the body and the container on which it exists, that is, the surrounding world. This clearly led to a desperate fight. Perhaps Xue Jiye is trying to put a temporary end to his limb evolution with despair rather than anything else.
The fourth word is "entanglement". This is a perceptual word, referring to a state, a contradictory, hopeless, or even boring state. In the early stage of Xue Jiye's limb evolution, his entanglement is manifested in the separation and decomposition of the individual. At this time, Xue Jiye's works are still full of loneliness from the flesh. Then, in the middle of limb evolution, the loneliness disappeared and gave way to the strange interdependence caused by limb conflict. Then entangle yourself and grow, leading to the struggle between limbs and the world; The struggle of the body promotes the incarnation of entanglement, making entanglement a perceptual way for the body to prove its self-worth, and moving towards the possible end together with the body.
The fifth word is "object image". This is a neutral word, which has something to do with the material, not with the flesh and the emotions emanating from the flesh. Originally, the meaning of the word "object image" is not related to Xue Jiye's long-term efforts and the style of his works. Because almost everyone admits that his works are flooded with a flesh desire almost equal to touch. But I have to be careful to point out that this is only a superficial phenomenon. I always thought that there was a circuitous strategy hidden in Xue Jiye's works, that is, to express the cold image world with the ubiquitous physical reaction and the "slice" combination he created. In his opinion, even thinking is materialized, and there is a terrible coldness. This layer of indifference, implemented visually, is presented as "forced gaze", a kind of forced gaze that is almost staring, no etiquette and like a scalpel, and a direct viewing that makes you unable to avoid, do not want to avoid, and therefore cancel boring thinking. In other words, Xue Jiye's works are seen, not thought, not spoken. Its meaning only works on the eyes, not on the soul. From this perspective, Xue Jiye's art is a fully materialized visual existence.
Physiology, slice, limb, entanglement and object image are the five key words that guide the audience to Xue Jiye's art world. Importantly, by searching the relationship between these keywords and Xue Jiye's art, I think an individualized way of thinking has been revealed. Originally, the references of these keywords are irrelevant, and the objects they refer to are not concerned by Xue Jiye. For Xue Jiye, it is important to make a fully personalized combination of the signifiers of these keywords at the perceptual level, that is, in the way of creation, in order to form a new visual finished product. As a result, a way of thinking belonging to Xue Jiye and a methodology that can probably be called Xue Ji came into being. This is a kind of thinking with the help of limbs and a perceptual imagination of the world with slices. Its purpose is to transform observation into sharp and sharp like a scalpel. Once the observation obtains a bright and ruthless way like a scalpel, it is impossible to avoid disintegrating the world under this observation and transforming it into a series of slices with surreal significance. Then, these slices are recombined between the fracture and separation of limbs, and finally form a tangled, materialized, constantly misplaced A physiological existence that floats like a slice.
Xue Jiye's works are the picture of this physiological world.
May 11, 2008 - Guangzhou Sun Yat sen University