皮肤的表情

赵力 Zhao Li

 

2004年即将从中央美术学院毕业的尹朝辉，开始全力准备他的毕业创作。他不停地摆弄着自己手中的相机，寻找着可能的灵感发现。当他偶尔地一次将目光从取景框中平移出来，却发现了摆弄相机的手的那种独特的表情。In 2004, Yin Chaohui, who was about to graduate from China Central Academy of Fine Arts, began to exert himself for preparing his graduation creation. Ceaselessly, he fiddled with his camera and tried to find out any possible inspirational discoveries. By accident, once he moved his sight out from the finder frame of the camera, what he found was the unique expression of his hands fiddling with the camera. 尹朝辉有点后悔原本对“手”的熟视无睹，然而正是这种熟视无睹才能更加激发尹朝辉“发现”它的那份喜悦。尹朝辉拍摄了大量有关“手”的照片，在这些照片中“手”仍具有以“手”而存在的基本特征，但是尹朝辉还想做到的是“手”脱离开现实语境之后的“手”的独立性，这些无疑构成了关乎尹朝辉个人创作的最初的语汇与语式。Yin Chaohui was a little compunctious that he had turned a blind eye to the “hands”, whereas it was just the ignorance inspired the joyance of Yin Chaohui when he “found” it. Latter, Yin Chaohui shot a lot of photos about “hands”, in which the “hands” still have the basic characteristics of “hands”, but what more Yin Chaohui wanted to do was the independency of “hands” separated from the context of reality, which undoubtedly composed the initial vocabulary and sentences of Yin Chaohui’s individual creation.  毕业之后的尹朝辉就着手在画布上进一步去实施他的“手”的“故事”，从平面性的照片到平面性的绘画在常人看来是那么简单的事情，对于那些“图像挪用”甚至是那些借助于电脑成像喷绘等高科技手段来进行创作的“时髦”画家来说也不是一件难事，但是尹朝辉真正想做的却远不止这些。After his graduation, Yin Chaohui started to further actualize his “story” of “hands” on canvases, from plane photos to plane paintings, which seem to be things so simple and are not a difficult thing even for “popular” artists who carry out their creations with the help of high-tech methods, such as the computer imagery printing, but what Yin Chaohui really wanted to do was more than these.   即便尹朝辉还借助于照相机去捕捉和记录那些稍瞬即逝的“手”的表情，然而他一方面已经开始主动而努力地裁减这些照片，以此找到他最试图表达的“完满”部分，一方面也开始以单色与平涂的方式，令自己的画面与自己的照片彼此有别。为了将自己的画面与自己的照片进一步分开，他却有意识地借用了照相机的“闪光灯”，在他2007年的画作中出现了一种“聚光”的效果，犹如“闪光灯”在画面上的“砰”的一声式的闪亮，这给画面增加了某种朦胧而幻觉化的色彩。Even through Yin Chaohui tried to catch and record the transient expressions of “hands” with the help of his camera, while on one hand, he began to actively try hard to clip these photos, so as to find out the “perfect” parts that he wanted to express the most, on the other hand, he began to make his pictures different from his photos by ways of homochromy and plane color. In order to further distinguish his pictures and his photos, he intentionally made use of the “flash lamp” of camera. A kind of “concentration light” effect appeared in his creations made in 2007, which was just like the flash of “flash lamp” on the picture with a sound “peng”, which adds certain dim and hallucinatory effect to the picture. 事实是“聚光”的效果对于画面而言还具有结构性的意义，它一方面将人们的目光对应于“聚光点”而集中起来，与此同时尹朝辉也可以克服因为单色和平涂之后画面所产生的“平铺直叙”，从而形成某种有利于画面“详略得当”的结构关系的有效达成。In fact, the “concentration light” effect also has the structural meaning to the picture. On one hand, it concentrates people’s eyesight corresponding the “concentrate light point”, on the other hand, Yin Chaohui can overcome the dull way of expressing his pictures resulted by the homochromy and plane color methods, so as to effectively realize certain structure relation which has proper distribution in detailed or simple description and hence is in favor of the pictures. 2008年尹朝辉创作的关注点，不仅从对“手”的表情逐渐延伸到对“皮肤”的表情，他在画面中有意识地增添了对“皮肤”的质感的表达，并对应于“皮肤”的质感而“添油加醋”般地去添加了那些皮肤上的“斑点”、“伤口”、“结痂”、“痦子”等细节，这些无疑都构成了尹朝辉对于“皮肤”的“表情”的细致化描述，而且尹朝辉还不断将“手”的表情和“脸”、“肢体”结合起来，拓展出了更为丰富变化的画面语汇和更大的表达空间。The attention of Yin Chaohui in 2008 is not only gradually extended from the expression of “hands” to that of “skin”, in his pictures he intentionally added expressions of the texture of “skin”, but also, corresponding to the texture of “skin”, added details of “spots”, “wounds”, “scabs”, “naevi” and so on in a way of adding inflammatory details, which undoubtedly compose the detailed description of Yin Chaohui to “expressions” of “skin”, moreover, Yin Chaohui continuously combined the expression of “hands” with “face” and “body” and hence explored more abundant and changeable picture vocabulary and more capacious space of expression. 事实是在我看来尹朝辉创作的终极目标并不是所谓的“现实化”的记录或表达，他追求的是画面的纯粹甚至是近似抽象化的结构，从这个角度加以认识的话，尹朝辉的近作则体现了在具体描述上的细致与整体结构上的完整之间的某种动态均衡。In fact, in my point the ultimate goal of Yin Chaohui’s creation is not the so-called “actualized” record or expression, what he pursues is the pure or even close-to-abstract structures of pictures. To understand from this angle, the recent works of Yin Chaohui embody certain dynamic balance between the particularity of detailed description and the integrity of whole structure.