薛继业 XUE JIYE

一件大理石雕是怎么完成的How is a marble carving completed

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发表时间:2021-06-09 15:05

首先,你当然需要一个构思

我的构思很简单——同一块石头塑造的两个人体,一个掰断了另一个,一个刚性材料塑造的人体给人的柔性幻觉在错乱的时间里折断另一个同样有柔性错觉的人体,我觉得这种材料和时间上所产生的悖论很有意思,石质的雕塑给人肉体柔性的错觉,但折断又同时暗示了材料的刚性本质,简单说就是如果右边人体对左边人体施加的力成立,那么左边人体的断裂就很荒谬,反之亦然。断裂的瞬间是有时间点的,如果左边人体是刚性的,右边人体在断裂的瞬间在刚性前提下是不是也应该是断裂的,两边人体产生的视觉效果从逻辑上非常混乱,但又相互关联,因对则果错,果对则因错。

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


于是我画了这么张油画,不错基本上把这事说明白了,其实当时真没人看明白,我也拒绝解释,只是说画里的东西都很简单,我的画都有那么点的莫名其妙,但是这张画里石像的古怪关系很吸引人,06年的展览上艺术景画廊的老板Sami说他可以把这张画卖十次,但我还是留下了。


一个朋友看展览时候说你应该把它真做成雕塑,我说好吧,于是第二年我开始做雕塑的小稿。

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.



泥塑必须在一个铁丝钢筋做成的骨架上做,我做泥稿相当快,但是痛恨搭架子,至今如此。

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.



一切很顺利,为了名垂青史我把它做了铸铜,现在还有一个摆在工作室。但是铸铜的雕塑跟我的构思还是相去甚远,第一它太小了,一个看似简单的事情其实需要更大的嗓门叫出来才有效果,第二铜这种柔软的金属跟断裂一毛钱关系也没有,于是我开始计划把它做成两米多高的大理石泰坦。

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.




当然2006年《普罗米修斯》的剧本还没有,2012年底才公映,他们那个泰坦大概是剽窃我的,可惜他的制作人员造型能力不好,肌肉做得像一堆松懈的硅胶。

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


于是我开始做大泥,做大泥的意思是把小稿放大成最终成品1:1的泥稿,我这个大概要几吨泥,相信我,在中国你看到的大尺寸雕塑基本上都不是署名人自己做的大泥,有些甚至稿子都不自己做,都是学生勤工俭学做的,好多雕塑家是不干这种脏活累活的,但是我和伟大的亨利摩尔都自己干这些事。

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.



是不是非常泰坦

Isn't it very Titan




为什么要做个等比例的泥稿呢?因为最后打石雕的部分需要一个结实耐用又准确的“模特”,所以大泥做完要翻制成玻璃钢,要把泥稿分割成一块块的模具,是的,先用工具刀在你辛辛苦苦修平整的泥稿上开个口子,再往里插扑克牌,扑克牌就是模块的分界线。

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.




第一遍石膏浆用喷农药的家伙事儿喷,这点子不动手干活的人想不出来。

For the first time, the gypsum slurry is sprayed with pesticide. People who don't work can't think of this idea.





喷完石膏浆再用做麻绳那种散麻粘上石膏浆把整个外壳加固一遍,再加上固定木方,几个小时后就可以一块块差下来了。

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.



人与神之间插着好几副扑克牌

There are several pairs of playing cards between man and God



玻璃钢其实就是环氧树脂加玻璃纤维贴在模具上,固化后一块块拆下来再拼到一块,F1赛车也这么做的,不过用的是碳素纤维。

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.




成型后打磨完就可以拉出去用了。玻璃钢在室外日晒雨淋一两年是没问题的。

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.



然后,你需要一块大理石,很大,尽可能白,我这三块46吨,广东也出大理石,但是不那么白,于是雕塑厂的老板亲自去四川的大山里找来了这么三块,80吨的卡车两千多公里运到广州,跟赌玉一样,白不白有没有天然裂痕要碰运气,我运气不错,你如果去过泰姬陵就知道纯白的大理石多难得,泰姬陵的大理石贴面实际上是灰的。

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.



把大理石切开需要一种古老的技术,非常简单聪明,先把要切开的地方钻一排孔,然后里面倒满膨胀剂粉末,加上水膨胀剂膨胀,石头就规规矩矩的裂开了,古时候大概是往里面放黄豆或其他种子,加水进去让种子发芽膨胀,种子的力气是无法想象的,据说第一次分开四块颅骨也是用这个办法。

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.






三点定位找第四点做石雕的方法不知道是什么人什么时间发明的,古希腊罗马大概就这么做了,先在等比模具上找三个基准点(米开朗基罗是先做个加稻草的等比泥塑让它干透当模具),再把这三个基准点在石料上打出来,这三个点就是以后所有形状的基础,这把铜制的空间尺原理非常简单(这个尺的原型据梁明成老师说是他从意大利带回来的),就是在模具上固定的三个基准点架好后,用固定在尺架上的可移动探针找出标记的第四个点,用红笔在探针上做好记号,再把标尺移到石料上的三个基准点上,用凿子一点点凿出探针记住的那个点,这跟现在的3D雕刻技术的原理一毛一样,只是扫描一个点,凿出一个点。所以做石雕的师傅不是在做雕塑,他们只是反复重做着一个三维的立体几何制图——寻找一个固定底面的四面体的顶端点,一个点一个点的找下去。

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.







这是一个浩瀚的工程,每个点要耗费很长时间,一张脸最终要在大理石上小心翼翼的凿出大约500个点,最后把点与点之间的石头磨平,雕塑的样子基本就出来了,形状跟模具完全一样,石雕师傅为了证明是完全按照模具找的点,会在最后留下那些点,中间有铅笔痕迹,也方便最后的打磨工序参考,如果你去卢浮宫,可以检查一下那些大理石雕,很多上面还残留着这些点,罗丹的石雕上最多,不过我手贱把它们全部磨掉了。

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.






当所有的点都找完,就是最终打磨阶段了,如果简单的雕塑可以继续让工人做完,但是工人不会造型,人体结构皮肤转折的味道只能自己来,就是说最后的两三毫米要自己用砂轮和砂纸磨下去,大理石的摩氏硬度只有3左右,硬度10的砂轮片和砂纸对付大理石跟玩似的。


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.









所以

这东西做了整整两年。

therefore

This thing has been made for two years.










“同一块石头塑造的两个人体,一个掰断了另一个,一个刚性材料塑造的人体给人的柔性幻觉在错乱的时间里折断另一个同样有柔性错觉的人体,我觉得这种材料和时间上所产生的悖论很有意思,石质的雕塑给人肉体柔性的错觉,但折断又同时暗示了材料的刚性本质,简单说就是如果右边人体对左边人体施加的力成立,那么左边人体的断裂就很荒谬,反之亦然。断裂的瞬间是有时间点的,如果左边人体是刚性的,右边人体在断裂的瞬间在刚性前提下是不是也应该是断裂的,两边人体产生的视觉效果从逻辑上非常混乱,但又相互关联,因对则果错,果对则因错。”


往往简单的想法会惹出巨大的麻烦。


"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


这件雕塑展览的时候并没有真正完成,腰部断裂的地方我尽量保持了厚度,因为大理石在搬运的时候还是很脆弱,本想最终放在一个相对稳定的地方再把断口凿开到合适的尺寸,那两年我只考虑怎么做出来并从广州安全运到北京展览,这件东西完全不符合中国人的审美逻辑,甚至有一个导演用这个雕塑推导我的性取向,所以,至今仍然稳定的屹立在我院子里,年复一年孜孜不倦的展示着一个似乎几秒钟前被另一个硬邦邦的石头人掰断的石头人,毫无文化背景,毫无历史背景,毫无政治背景,太不深刻,太不当代,太不前卫了。

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.




还没完

我画画做雕塑是不用参考真人的,古希腊的人体并不是写实的,世界健美先生翻模做出雕塑来也不会好看,但是,如果一个准备了两年多的展览说你这东西凭空做一点都不研究就太不严肃了,于是,我在石雕结束后找了俩广美模特补画了十几张真人写生以让展览看起来更严肃更学术,这也算一种学术造假吧,装傻也是装,我当时想即使没有几个人能买得起大理石,总有几个人买得起画吧。

Not yet

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.





还没完

那46吨石头最后只用了不到一半,其他都七零八落的碎了一地,我突然想这也太特么浪费了,不公平,我是天秤座所以公平比什么都重要,于是我又画了两张巨大的画,把凿掉的石头都画下来一并带去展览。

Not yet

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.



此处横屏

无题,布面油画,180cmX720cm 2008

还没完


这个展览一分钱都没卖掉,展览结束后没有多久,这个当时非常屌的《新北京画廊》就倒闭了,我就因为那三块巨大的四川大理石的运输问题干脆留在了北京,然后,我就会滑雪了,很励志不是吗?


Not yet

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?




还没完

我去景德镇弄了个不仁斋,开始做陶瓷雕塑

Not yet

I went to Jingdezhen to get a bu Ren Zhai and started making ceramic sculptures







还没完


杨小彦先生为这次展览写了篇文章,今天也一并贴在这里

Not yet

Mr. Yang Xiaoyan wrote an article for the exhibition and posted it here today




肢体思维与切片想象

薛继业的视觉手术刀

A visual surgical knife

杨小彦



纵观薛继业近二十年来的油画创作,我发现他的艺术风格,基本上呈现了三种类型。第一种类型大致上可以归入写实主义。但他的这一类作品,在写实的表象下,却潜藏着一种绝望的伤感,一种无聊的亢奋。第二类作品,乍看起来,似乎泛滥着一种超现实的精神,但细心思索,又觉得这精神其实还是多少背离了一般意义的超现实。这一类作品有一种残酷性,又有一种滑稽性,是一种残酷中的滑稽,或相反,滑稽中的残酷。第三类作品,也就是薛继业近年所一直坚持的,以男性强壮肢体为母题、以众多肢体堆砌、或以相同肢体互相扭结对抗为对象的作品。这一类作品,有一种奇特的、难以言喻的心理深度,但又通过类型化处理,把这可能的心理深度给摒弃了,于是当中就呈现出一种矛盾,堆砌与对抗的矛盾。近来,薛继业显然受到了一种更加物像化的启示,画起了碎裂的石块,以及石块堆积起来的场面。这当然和他从事大理石雕刻有关。在雕刻现场,满地的碎石块刺激了他的观感,让他意识到,肌肉和碎石之间,其实存在着一体的联系。

在创作这三类油画作品的同时,薛继业还从事雕塑。他的雕塑表明,艺术家对于形体与空间的关系,有着与众不同的体会。仅从雕塑本身看,艺术家对于形体的转折就有着非同一般的认识。但这还不是最重要的。如果薛继业只着眼于形体的塑造,哪怕手法圆熟,也不能更好地提升作品的力度。和他的油画作品一样,薛继业在其有限的雕塑中,贯穿了一种透过切片似的肢体而呈现出来的气质。

最近,薛继业显然在三维表达中找到了对应,这可能是他近期把精力投入到大理石雕刻上的内在原因。就是说,薛继业把呈现在油画中的肢体组合,转变为一种凝固的空间符号,重现在石头上,从而雕刻了几组堪称体量巨大的作品。这些作品,既是对油画作品的延伸,同时又独立于油画,而成为自主的空间存在。

围绕着薛继业的这些作品,我以为有几个关键词是颇为重要的,这些词能够帮助我们理解他在作品中所呈现的视觉复杂性。

第一个词是"生理"。在薛继业的作品中,一直或明或暗地呈现着一种与触觉密切相关的生理特征。甚至,在细看他的作品之后,我发现这特征已经不能用"触觉"来理解了,因为当中呈现了一种温柔的血腥,一种解剖学意义上的肢解。从某种意义来说,我甚至觉得薛继业内心对肢解有一种向往。当然,我们可以把这种特征解释为"超现实"。事实上,从画面效果看,他的作品也符合超现实的一般概念。但这种看法可能并不符合薛继业的观察。在他眼中,世界本来就是非常生理化的。

第二个词是"切片"。在这里,我得申明,这"切片"的意思,并不指那种齐切切地一个肉片,而是指一种碎的部件。这些部件,具有"切片"的意义。

在我看来,薛继业对"切片"充满了近乎病态的迷恋。他常常描绘肢体的切片。有一个阶段,在他笔下,头颅被剥去了外皮,眼珠令人惊恐地突显,血丝像红色的细线一样,在虚无的背景中飘浮。"切片"还常常表现为不可思议的断肢,以及对断肢的想象性重组。如果仅仅是断肢,那还只是血腥而已。但薛继业却让断肢拼接,让切片像具有思维的生物一样,在视觉世界中重新组织自己的存在。这样一来,薛继业作品的切片,就具有了独立的生命,并各自扮演着各自的角色,彼此来往,同时又互不相识。

第三个词是"肢体"。对于薛继业来说,肢体除了肉身,什么也不是,但这肉体不是一般的存在,而是潜藏着一种进化的意义。如果把薛继业多年与肢体有关的作品放在一起,我想人们就会惊异地发现,在他的肢体描绘中,存在着一种缓慢发展的态势。先是女人体,一个人,有被肢解的症候,并呈现为断裂的切片。接着是群体,是一群男性人体,他们组织成一支强大的军队,行进在超现实的环境中。但他们又同时是一个人,是一个人的重复,或者是一个基因不间断的复制。再接着是粗壮的男性肢体,具有一种符号般的性感,局部的,暴露着内里的欲望。在肢体的进化阶梯上,其中一种方式是扭曲与挣扎。在这一阶段中,肢体和它赖以存在的容器,也就是周遭的世界,发生了激烈的冲突。这显然导致了一场绝望的博斗。也许,薛继业正想用绝望而不是别的什么,来为他的肢体进化划上暂时性的句号。

第四个词是"纠缠"。这是一个感性的词,指称一种状态,一种矛盾的、无望的、甚至是无趣的状态。在薛继业肢体进化的早期阶段,他的纠缠表现对个体的剥离与分解上,这时薛继业的作品还浮泛着一股来自肉身的孤独气息。然后,在肢体进化的中期,这孤独气息荡然无存,而让位给因肢体冲突而产生的彼此陌生的依存关系上。然后纠缠自我生长,导致了肢体与世界的博斗;肢体在挣扎,又促进了纠缠的肉身化,让纠缠成为肉身证明自我价值的感性方式,而与肢体一起走向可能的终点。

第五个词是"物像"。这是一个中性词,和质料,而不是和肉身,以及从肉身中散发出来的情感发生关系。本来,"物像"一词所表达的意义,和薛继业长年的努力,以及他作品所呈现的风格是不相关联的。因为,几乎所有人都承认,他的作品泛滥着一种几乎等同于触觉的肉欲。但我得慎重指出,这只是表面现象。我一直以为,薛继业的作品潜藏着一种迂回的策略,那就是用随处可见的肉身反应,用一种他所创造的"切片"组合,来表达冷然的物像世界。在他看来,甚至连思考也是物像化的,有一种可怕的冷然存在。这层冷然,落实到视觉上,则呈现为"逼视",一种近乎直瞪着眼、没有礼节、像手术刀般的逼视,一种让你无法回避、不想回避、因而取消无聊思考的直接观看。也就是说,薛继业的作品是看的,而不是思考的,更不是言说的。其中的意义,仅仅作用于眼睛,而不作用于灵魂。从这个角度来说,薛继业的艺术,是一种充分物像化的视觉存在。

生理、切片、肢体、纠缠和物像,这五个关键词成为导引观众走向薛继业艺术世界的路标。重要的是,通过检索这些关键词与薛继业艺术的联系,我觉得有一种个体化的思维方式已招然若揭。本来,这些关键词的所指是互不相关的,其所指称的对象更不为薛继业所关心。对于薛继业来说,重要的是要在知觉层面上,也就是创作方式上,对这些关键词的能指进行完全个人化的组合,以期形成新的视觉成品。结果是,一种属于薛继业的思维方式,一种大概可以称为薛记的方法论就此产生。这是一种借助于肢体的思维,是用切片对世界的一种感性想象,其目的是把观察转变成像手术刀般锐利尖刻。一旦观察获得了像手术刀般明快而无情的方式,世界就不可能避免地要在这观察之下解体,转变成一连串具有超现实意义的切片,然后,这些切片在肢体的断裂分离之间被重新组合,最后形成一个纠缠不清的、物像化的、肢体与肢体之间不断错位的、像切片般浮游漂移的生理般的存在。

薛继业的作品,就是这生理般存在的世界图景。


2008-5-11-广州中山大学


Limb thinking and slice imagination

Xue Jiye's visual scalpel

A visual surgical knife

Yang Xiaoyan

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







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