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张霜个展：怎么了！
展览时间: 2008.08.09-09.08
开幕酒会: 2008.08.09 16:00
展览地点: 北京方音画廊
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天使小魔女的张霜世界
陆蓉之
第一次见到张霜的作品，是在成都她和丈夫共用的工作室，因为孕事而未见到她本人。第一眼看到她笔下的天使小魔女，就注定了日后延展开来的缘分。就这样，素未谋面的张霜，她塑造的小精灵翩然飞进了上海当代艺术馆的《动漫美学双年展》的展场。然后，韩国、日本著名的策展人金善姬，在上海当代艺术馆一看到张霜的作品，就决定邀她到韩国展出。这一年，张霜在成都孕育了她生命中的真命天女，当上母亲的欣喜和复杂的生命经验，更加速她幻化出更多纸上的小魔女，随著各种展览的邀约飞向外面广大的世界。
张霜是一位直觉式创作的艺术家，她的艺术生涯是一场无预期的美丽意外。
她1994年从中央工艺美术学院毕业以后，从事广告设计工作，2000年开始在工作之佘，随心所欲在纸上画一些线描的涂鸦式的小画，同时也在黑纸板上用美工刀进行镌刻纸版画雕刻的游戏之作。2001年-2002年张霜再到中央美术学院进修，在寝室有限的空间里，完成了两百多张以A4、A3尺寸为主的纸上作品。这个时期张霜从昔日的线描黑白画，发展到使用水彩、油画棒、彩色铅笔、圆珠笔、金或银笔……等综合媒材，使她进入正式创作绘画状态。
早期张霜的画，有很浓厚的儿童画色彩，也有一些素人画的特质，都是比较天真、随意的表现方式，而人物，一直是她所关注的主题。搬到成都，张霜有了自己的工作室，所以2004年到2005年之间，她的画面变大了，开始重视主题性的创作，《成都表情》系列终于形成明显的个人风格。与其说张霜喜欢画人物，不如更精确得说，她喜欢表现女性脸部表情细微、丰富的变化，她用了动漫美学(Animamix)的夸大和趣味化手法，特别是放大眼睛的比例。延续《成都表情》系列对都会女性的刻画，《美丽而遗憾的世界》系列描写那些活在欲望城市里的女性，在丰富的物质慰藉和光鲜艳丽的外表下，隐约存在的痛苦与哀伤。2006年上半年画的《透视装系列》不再是头像的形式，用拉长的条幅画面容纳受到挤压的身体，睁大的惊惶眼神，透露著疑惑和不安的情绪，这样的眼部特色日后形成她的个人风格标志。
2006年下半期出现的《天使小魔女》系列反映了一位怀孕母亲的复杂心情，既期待又怕又伤害，鬼灵精怪的动作和表情，十足卡通化的大头小身体造型，像天使又像精灵的女孩，显得脆弱又坚强，纯真又诡异。2007年张霜的女儿出世，看着无辜而纯洁的婴儿一天天长大，她画中的女孩眼睛越瞪越大，流露出越来越多的惊慌和复杂的心思和考虑，使她更完善地表达了她身为人母的心路历程。 从《天使小魔女》系列延伸出《可乐》、《奇怪的数字》和《怎么了》等较大尺幅的画作，张霜的创作生涯也渐入佳境，步入成热。
在21世纪的当代艺坛，全球新生代的艺术家正不知不觉地浸淫在动漫美学的语境中，动漫美学(Animamix)是笔者自创的词汇，用来描述这股由亚洲兴起、带动的新趋势，指的是这个大时代审美品味的卡通化，就像上一世纪的审美品味抽象化一般，是美学的时代性，而不是指动画、漫画创作本身。
张霜，也正是本人所关注的动漫美学发展中，非常典型的一个例子。
The World of Zhang Shuang for the Angel Little Succuba
Lu Rongzhi
It was at the workroom where Zhangshuang shared with her husband in Chengdu that I saw her works at first time. But I failed to see her because she was pregnant then. The picture of Angel Little Succuba I saw at first glance was doomed to extend our later friendship. So the figure of the little elf produced by Zhang Shuang, whom I never met, joined the exhibition field of Animation Aesthetics Biyearly Exhibition held by Shanghai Contemporary Artistic Museum. However, Jin Shan Ji, a famous Korean and Japanese exhibition planner, determined to invite Zhang Shuang to hold exhibition in Southern Korea when he saw the works of Zhangshuang at one time. It was in this very year that Zhang Shuang had given birth to her daughter, a real lovely fairy, so the happiness of becoming a mother and its relevant experiences to the life have accelerated her productions of more little succubas on the paper, which have flew into the external broad world due to many invitations for exhibition
As an artist with intuition typed production, Zhang Shuang started her artistic career out of un-expectation. After graduation from Central Institute of Arts and Crafts in 1994, Zhang Shuang started her works of propaganda design. She began to doodle some casual pictures on the paper in the spare time in 2000, while carved some sculptures with the artistic cutter on the black boards. She attended in advanced studies in China Central Institute of Fine Arts since 2001 till 2002, and finished over 200 pictures on the main paper with the dimensions of A4 and A3 in the limited space of her dormitory. In this period, she began to use many comprehensive medias and materials including the watercolor, canvas bar, colored pencil, ball pen, golden pen or silver pen etc besides the former black and white pictures finished with lines, which made her into a state of formal picture production.
Her works in the early time have strong characters of child pictures besides some adult ones. Their expression ways are very innocent and casual, while she focused on the production of the figure pictures. She had her own workroom after moving to Chengdu, so her pictures became broad since 2004 to 2005, while she began to focus on the production with some topics, and the series of Chengdu Expression has formed her striking personal styles finally. It can say that she prefers the tiny and plentiful changes on the facial expressions of woman rather than she preferred the figure picture. She adopts the techniques of exaggeration of Animaxim and interest, esp. the magnification to the proportion of the eyes. Continuing the description of the series works of Chengdu Expression to the urban women, series pictures of Beautiful and Regretful World depicted the women driven by the urban desires, their hidden sorrows and pains under the abundant material supplies and the exterior elegance. The pictures of See-through Dress Series Zhang Shuang finished in the first half of the year of 2006 adopted no forms of head portraits rather than the elongate scrolls to depict the extruded bodies and the opened scared expressions in one’s eyes with the emotion of the confusion and unease, and these characters on the eyes formed the symbol of her late personal style.
Series pictures of Angel Little Succuba finished in the last half of the year of 2006 showed the complicated moods of a pregnant mother: expectation and fear of being harmed. The strange activities and expressions of the ghosts and spirits, the figure sculpts of big heads and small bodies with the characters of cartoon, and the girls resembling both the angel and the fairies showing to be both fragile and adamant, na?ve and peculiar. Zhang Shuang had a daughter in 2007, seeing her innocent and pure baby growing day after day, the eyes of the girls in her pictures were becoming larger and larger so as to show more and more panics and complicated ideas and consideration, all these have made her more completely depict her mental courses of being a mother. From series works of Angel Little Succuba to the pictures with larger dimensions including Kola, Strange Digital Numbers and What’s Wrong etc, the production career of Zhang Shuang also gradually entered the most pleasant stage and became mature.
In the contemporary artistic field in 21 century, the global artists of new generation are gradually entering the language world of Animaxim. The word Animaxim is a new word produced by myself to describe this new tendency which rose from and led by Asia, e.g. the cartoon trend of the aesthetics appreciation in this big time, just like the abstraction trend in last century. This is the characteristic of this time in aesthetics rather than the animation and caricature production itself.
Zhang Shuang is also a very typical case in the development history of Animaxim which I have focused on for long time. |
