(关于)汤艺.
文/邱志杰
几何的美感是一种在现在的年轻人里面并不多见的趣味—虽然很多人会把水晶作为装饰品或者避邪物。却不能理解,正是因为晶体的内在秩序极强的几何结构,赋予了它晶莹的形象和硬度,并暗示了和造物主的意志的某种接近,从而唤起巨大的美感并获得了某种神性。那是一种抵制世界的混乱的意志----一种理解世界的内在合理性的愿望。汤艺在她的一系列装置中,使用线、光和影子所创造出来的空间,具有数学的规整外观和抽象的形式,似乎是对隐藏在这些空间中的隐蔽的公式的显影。这样的空间中有很多公式可以做,但是它们要通过一些机缘来获得形式,就像潜在地弥散在我们身边的无数必然性,要依赖一个具体的偶然性来获得形式。因此,当汤艺用一根线条在纸上幻化出大量形象时,她所作的,既是像克利所说的那样,是“用一根线条去散步”,更是在展开对于瞬间的感性的合理性论证。以这种方式,她积极地回应了早期现代主义者的理想----那些内在于至上主义和构成主义艺术中的形而上学精神。
可贵的是在汤艺的公式中的感觉并不枯燥,它始终是感性的和现场的。正像她的一件作品的标题所发现的:“抒情至上”。对长期以来蒙加在几何抽象艺术之上的误解,这几乎是最好的澄清。线的一头,连接着世界的秘密,另一头,连接着我们的身体。
about TangYi
An essay by Qiu Zhijie
Nowadays, the aesthetics of geometry is an interest which can hardly be found among young people ---- even though a lot of people are using crystal as decoration or as a talisman. But they don't understand, exactly because the strong inner order of geometry's construction of a crystal, so that endues it with crystalline consistency and form, and alludes some kind of approach which is close to the will of the author of all beings, therefore invoking the immense aesthetics and gaining a kind of spirituality. That is a will against the chaos of this world --- a wish which wants to understand the inner rationality of the world.
In Tang Yi's installation series, the spaces made of light, lines and shadows, have the regularity of mathematics and the form of abstractness, and seem to want to demonstrate the secret formula hiding in those spaces. A lot of formulas can be made in such spaces, but they need an opportunity to get forms, as million inevitabilities which are potentially suffusing around us and resting on a concrete occasionality to get their forms.
Therefore, when Tang Yi is using lines to create a lot of images on paper, what she is doing, is not only like Paul Klee said , "using a line to promenade", but even also expanding the rational demonstration towards the sensibility of a moment.
According to this practice, she is actively responding to the ideal of earlier modernism ---- the metaphysic spirit within Suprematism and Constructivism. But what is preciously about Tang Yi's formulas, is that it is not dull and dry, it always sensibly and sited, just as one title of her work: "Sentiment is Supreme"。
For a long time geometrical abstract art was covered by misunderstandings, this is almost the best clarification. In one end of a line,
it connect the secrets of the world, and on the another end, it connects with our bodies.
几何的美感是一种在现在的年轻人里面并不多见的趣味—虽然很多人会把水晶作为装饰品或者避邪物。却不能理解,正是因为晶体的内在秩序极强的几何结构,赋予了它晶莹的形象和硬度,并暗示了和造物主的意志的某种接近,从而唤起巨大的美感并获得了某种神性。那是一种抵制世界的混乱的意志----一种理解世界的内在合理性的愿望。汤艺在她的一系列装置中,使用线、光和影子所创造出来的空间,具有数学的规整外观和抽象的形式,似乎是对隐藏在这些空间中的隐蔽的公式的显影。这样的空间中有很多公式可以做,但是它们要通过一些机缘来获得形式,就像潜在地弥散在我们身边的无数必然性,要依赖一个具体的偶然性来获得形式。因此,当汤艺用一根线条在纸上幻化出大量形象时,她所作的,既是像克利所说的那样,是“用一根线条去散步”,更是在展开对于瞬间的感性的合理性论证。以这种方式,她积极地回应了早期现代主义者的理想----那些内在于至上主义和构成主义艺术中的形而上学精神。
可贵的是在汤艺的公式中的感觉并不枯燥,它始终是感性的和现场的。正像她的一件作品的标题所发现的:“抒情至上”。对长期以来蒙加在几何抽象艺术之上的误解,这几乎是最好的澄清。线的一头,连接着世界的秘密,另一头,连接着我们的身体。
about TangYi
An essay by Qiu Zhijie
Nowadays, the aesthetics of geometry is an interest which can hardly be found among young people ---- even though a lot of people are using crystal as decoration or as a talisman. But they don't understand, exactly because the strong inner order of geometry's construction of a crystal, so that endues it with crystalline consistency and form, and alludes some kind of approach which is close to the will of the author of all beings, therefore invoking the immense aesthetics and gaining a kind of spirituality. That is a will against the chaos of this world --- a wish which wants to understand the inner rationality of the world.
In Tang Yi's installation series, the spaces made of light, lines and shadows, have the regularity of mathematics and the form of abstractness, and seem to want to demonstrate the secret formula hiding in those spaces. A lot of formulas can be made in such spaces, but they need an opportunity to get forms, as million inevitabilities which are potentially suffusing around us and resting on a concrete occasionality to get their forms.
Therefore, when Tang Yi is using lines to create a lot of images on paper, what she is doing, is not only like Paul Klee said , "using a line to promenade", but even also expanding the rational demonstration towards the sensibility of a moment.
According to this practice, she is actively responding to the ideal of earlier modernism ---- the metaphysic spirit within Suprematism and Constructivism. But what is preciously about Tang Yi's formulas, is that it is not dull and dry, it always sensibly and sited, just as one title of her work: "Sentiment is Supreme"。
For a long time geometrical abstract art was covered by misunderstandings, this is almost the best clarification. In one end of a line,
it connect the secrets of the world, and on the another end, it connects with our bodies.