夢(mèng)魘系列"Nightmare Series"
----野孩子的觸覺(jué) Wild Child’s Touch Sensation
其實(shí)繪畫(huà)是一種狀態(tài)，是情緒的宣泄，感情的觸覺(jué)。曾經(jīng)沉睡的野孩子在潮流輪迴間再次碰觸了夢(mèng)中的世界。每一個(gè)人在一生中都會(huì)遇到夢(mèng)魘，我只是拿起了筆，追隨並記錄了下來(lái)。 In fact, painting is a state of emotional catharsis and emotive awareness. Wild Child has been sleeping touched the world in dream in the transmigration again. Every person will encounter the nightmare in his life, I just picked up the pen, following and recording it.
當(dāng)筆觸碰到布的瞬間，一切活動(dòng)都開(kāi)始變得緩慢，時(shí)間也變得靜止，慾望籠罩著四週，冷冷疏離的光斑引誘我完成夢(mèng)裏的那些似乎真實(shí)卻又超越真實(shí)的物象。 When the moment the stroke hit the canvas, all activities are beginning to slow down. Time become static, desire envelop all around, the alienated spot lure me to complete those images seems real but beyond the reality in the dream.
在青春的記憶裏我風(fēng)趣幽默，畫(huà)中的夢(mèng)魘是一個(gè)被阻隔的世界。青春是動(dòng)人的片斷，她連接了這兩個(gè)世界。在青春的記憶裏，即使是微小的退色的殘片，都可以觸碰到野孩子那懵懂的憂鬱。畫(huà)中的世界是在冬日荒蕪城市中被帶走得自己，那些遊蕩在原野上，是笑非笑憂鬱的臉孔，如同畸形般的女孩兒，講述著記憶中那些空幻的、灰色的青春物欲。 I was humorous in memory of youth, the nightmare in painting was a blocked world. Youth is a touching fraction, connect the two worlds. In memory of youth, even tiny faded fragments can touch the muddled depression of wild child. The world in painting is oneself who been taked away in the barren city in winter. Those girls who wandering in the weald, with deformed look and smiling but sorrowful face, telling those dreamy and gray material desire of youth in memory.
那些紅色的曖昧交錯(cuò)的人體，互相分享卻又獨(dú)自生活在自己的世界裏，他/她們也許正分享著男人和女人心裏的另一種異性。 Vague interlacing of those red body who share with each other but live alone in their own world, now he or she may share the other opposite sex in the heart of men and women.
赤裸不再是甘甜的情色，卻在我夢(mèng)中如此真實(shí)地展現(xiàn)。 Nudity is no longer the erotica , but so realistic in my dream.
那些瞬間的凝固與嬉戲，將我的抵觸與不安暴露無(wú)遺。 The solidification and larkishness of those moments exposed my conflict and anxiety.
在這裡，誇張的肢體語(yǔ)言、細(xì)長(zhǎng)的耳朵、陰鬱的表情是掩飾住內(nèi)心世界的陰影，經(jīng)過(guò)修飾的細(xì)微表情、動(dòng)作和場(chǎng)景，在迷離氣氛下反而更加清晰的表現(xiàn)出人物的心理傾向人物充分隱喻內(nèi)心的表達(dá)時(shí)，前後區(qū)別明顯的構(gòu)圖更能充分暴露我所追求的畫(huà)面人物的戲劇感受。 Here, the exaggerated body language, elongated ears, gloomy expression are the shadow use for concealing the inner world. After a slight modification on facial expressions, movements and scenes, the performance of the psychological trends the metaphorical expression of the heart of the people is more clearly in the blurred atmosphere. The obvious difference between before and after composition more fully exposed my pursuit of the drama feeling of the people in the image.
在人性與物性相結(jié)合時(shí)，我希望讓內(nèi)心的世界接受洗禮，不斷在夢(mèng)境中摸索，讓自己的角度更清晰，等著和你一起分享著我夢(mèng)魘裏的秘密。 The moment the material nature combines with the human nature, I hope to receive a baptism in my inner world. I hope to grope in the dream constantly to make my point more clearly, and to wait for sharing with you the secret inside my nightmare.
羅秋光《夢(mèng)魘系列》
"Nightmare Series" from Luo Qiuguang
羅秋光Luo Qiuguang
個(gè)人簡(jiǎn)歷Resume
1976年出生於重慶 1976 Born in Chongqing province
2000年畢業(yè)于四川美術(shù)學(xué)院油畫(huà)係 2000 Graduated from Oil painting department of Sichuan Academy of Fine Arts
現(xiàn)任教于四川美術(shù)學(xué)院 Currently with Sichuan Academy of Fine Arts, as a teacher
展覽： 1999 第九屆全國(guó)美展重慶展 重慶美術(shù)館
1999 The 9th National Art Exhibition - Chongqing Exhibition Chongqing Art Museum
2007 四川美術(shù)學(xué)院教師作品展 重慶美術(shù)館 2007,
Sichuan Academy of Fine Arts’ Teachers Exhibition Chongqing Art Museum
2008 “夢(mèng)之精靈”藝術(shù)展 重慶501
2008 "Dream of Genius" Art Exhibition, Chongqing 501