他
一会儿看远方
一会儿观眼前
我觉得
他看面前的时候很静
他看远方的时候思绪很自由
隐于百世间
却不止是为了粉饰“苟漏低浅”世俗的无奈
与世无争
风轻云淡
他说
不懂享受自己思考的时间
是无法体会“自由”的实感
停
收敛
迸发
画出未见，遵从自我
高岭（中央美院博士，著名艺术评论）
生活在彩云之南的徐浡君果然受到了那里蓝天白云和红土地所释放出的强烈色彩的召唤，用他的绘画向我们展示出绚烂的充满生命律动的自然之美。通观他2009年以来的《k.s.t.》、《绝版套色木刻》、《m.y.f.》、《蝶恋》四个系列的油画和木刻版画，扑面而来的是一股带着云贵高原泥土的芬芳气息和释放强烈对比调子的色彩旋律。仅仅是看到这些绘画作品，我们就会毫无犹豫地喜欢上云南；仅仅是因为这些绘画作品，我们也会充满好奇地问究这位善于舞弄色彩的艺术家——因为他用他手中的画笔和刻刀深深地打动并感染了我们。
没有云南的名山大川和遐迩古迹，有的只是普通的山乡村落、工业厂房、瓶中杂花和户外野花——丰富的自然地貌和多采的民族风情并没有成为徐浡君描绘的对象。他的视角是独特的，目光是平实的，观察是入微的——他对大自然的馈赠所养成的云南之美的表现，不是浮光掠影式的表面再现，而是终日以对、朝夕相处中的些小入微和生生相吸。风景对他的绘画而言，不是作为自然美的存在而入画，而是作为自然美内化于心之后的意象性的表达。因此，何种风景或者何类景象能够进入他的画面并不是至关重要的，近几年来他同时穿插交替地创作着这四类题材的行为本身就足以说明，重要的是他对大自然不落俗套的平实和敬畏之心，重要的是他对周围世界的任何角落，无论天工还是人趣，都倾注极大的热忱，于平凡些小和杂乱无章中发现色彩，捕捉光影，提炼素材，大胆想象，果断和娴熟地转换为创造性的视觉形象。
于是，我们在《k.s.t.》系列里看到他在二十天里，两次分别用不同的色彩调子和运笔方式来表现同一视角下的村庄和池塘（《唯博邑》）——前者色彩明快、简洁但不失清晰、稳健，后者色彩绚烂、恣肆又舞动、酣畅。与其说徐浡君在再现和描绘独特的民居文化景观，毋宁说他在反复挖掘和表现自己内心对眼前景物不羁的想象。同样的情形还可以从《m.y.f.》系列里明显看到：在2014年10月到11月短短十几天时间里，艺术家对自己熟悉的昆明钢铁厂的写生，一次比一次用笔奔放，色彩一次比一次简约大胆，到最后一张第6号《草铺昆钢》时，工厂的烟囱已然像破坏毁灭后扭曲的废墟般极度变形。
因此，在徐浡君的绘画中，写生不复再现对象原貌的功能，而是要穿透物象的表征，呈现出视网膜难以发现和企及的内在生命，召唤起人们对这些有机的甚至于无机的自然之物或人造之物的尊重。那些山野里的杂花，在这样的关照下，形象变得高大，色彩变得诡异——一切都在于主观的发现，一切都在于能动的转换，一切都在于自我的诠释——美，不仅在于自然，更在于人的发现；生命，不仅在于实存，也在于人的赋予。绝版套色的景物花卉，也不再是传统静物画那样把花卉从其生长环境中抽离出来，被置于冷漠的注视之下了，而是被画面背景的各种色彩块面和结构所组成的丰富意象包围着、烘托着，彼此相互穿插、相互交叠也相互影响，共同营造出光彩夺目、耐人寻味的视觉形象。
徐浡君对色彩的敏感得益于他的家乡云南，但是他对于色彩的理解、使用和表现，却得益于他对绘画目的和意义的深层次明了——画出眼见背后的未见，刻出自我转换过的景象，这样的绘画与心灵最近。
Xu Bojun, living in Yunnan - the South ofCloud, is indeed affected by the intense colors released by the blue sky, whitecloud and red land there, and shows the gorgeous beauty of nature full of liferhyme through painting. Seeing his oil paintings and woodblock prints since2009 including four series - k.s.t., Out-of-print Colored Woodcut,m.y.f. and Butterfly's Love, we will feel the color and melodywhich contains the fragrance of soil on the Yunnan-Guizhou Plateau and releasesthe strong contrast tune. Just after seeing these painting works, we will fallin love with Yunnan without hesitation and just because of these paintingworks, we will be curious to know more about this artist who is good at usingcolors. That is because he deeply moves and infects us with his paintbrush andgraver.
In his works, there are no famous mountains and great rivers or places of historicinterest in Yunnan, but just ordinary rural villages, industrial plants, mixedflowers in bottle or outdoor wild flowers - The rich natural features andcolorful ethnic customs are not the objects of Xu Bojun’s works. He is uniquein selecting perspective, and has a simple and unadorned eyesight and a sharpeye for details -- When showing the beauty of Yunnan coming from the gifts ofnature, he does not represent the skimming surface, but focuses on the detailsin daily life. In his paintings, landscape is not to show the beauty of nature,but the imagery expression after the nature is internalized. Therefore, it isnot crucial to draw what scenery or what kind of scene. In recent years, he hasalternately created works of four themes at the same time, which shows thatwhat is important is his unconventional plainness and reverence towards nature,his great enthusiasm for any corner of the surroundings, no matter the work ofnature or artificial works. More importantly, he can find a lot from theordinary and disorder, imagine boldly and decisively and skillfully transformthe imagination into creative visual images.
Thus,in K.S.T. series, we can see that heused two different colors and tunes and painting ways to show the village andpool in the same perspective within 20 days (Wei Bo Yi) —— The former is bright in colors, concise, clear androbust, while the latter is rich in color, unrestrained, dancing and lively. XuBojun less represented and depicted the unique residential cultural landscapethan repeatedly dug and showed his inner imagination of the scene before hiseyes. We can also find the same situation in m.y.f. Series: In a fewdays from October to November in 2014, he painted Kunming Iron and Steel Planto which he was familiar. The works were more and more unrestrained; the colorswere simpler and simpler and bolder and bolder. And in the last work No. 6 Caopu Kunming Iron and Steel Plant, the chimney of the plant was extremelydeformed like twisted debris after destruction.
Therefore,in Xu Bojun’s works, painting is not to represent the natural form of theobject, but to present the inner life that eyes can not see and reach and callpeople to respect these organic and inorganic natural things or artificialarticles through the surface feature of objects. Thus, the wild mixed flowersgrow in image and become strange in colors -- All of these depend on thesubjective discovery, active transformation and self-interpretation -- Beautylies in more people’s discovery than nature; life does not only exist innature, but also exist because of people’s endowment. In the Out-of-printColored Woodcut, the landscape flowers were not just pulled out from thegrowing environment and gazed coldly like the traditional still life, but weresurrounded and set off by rich images on the background composed of variouscolor blocks and structures; they interspersed, overlapped and mutuallyaffected, and jointly created a dazzling and interesting visual image.
Xu Bojun’s sensitivity to color benefits from his hometown Yunnan, but hisunderstanding, use and expression of color benefits from his deep understandingof painting purpose and significance - painting what the eyes can not see andcarving the self-transformed images; and such paintings are the closest to one’s soul.
看似平淡的生活，却具有人生意蕴上的浓度，人生何尝不是一场不断重复修炼，象六字真言把重复化作一个动态活体，人以＂天＂＂神＂共处，＂天＂是神秘的，＂神＂是高超的，人类在天神面前显的是如此渺小和无知，越探究越会未知世界之大。亳无疑问，重复亦是无耐，亦是一种自觉，亦然是迷惘，更是求索，因万物皆不明晰，正因如此，才能构成深刻意义上的人生世界。
--徐浡君语
艺术的当代性或者现代性同古典艺术或传统艺术，最大的区别在于为谁服务，把对象当太阳还是把自己当太阳。当然，前提必须自己是太阳。什么是太阳呢？就是自己会发光发热。照亮和温暖别人。
--徐浡君语
皖公网安备 34010402700602号