Q&A｜钱佳华 #一种对抗屏幕图像泛滥时代的情绪

钱佳华

艺术家工作室，杭州

2016

" 营造强弱张力来强调其中微弱温度所指向的'弱'。 "

		你认为自己的作品属于抽象范畴吗？
广义上可以属于。
		你的画面是经由理性提前设计布局，还是在画布上直接展开？
直接展开，每一步根据上一步留下的结果进行推进。

形状的外延Epitaxy of Shapes, 56×54.5cm, 布面丙烯木质外框Acrylic on canvas in wooden frame, 2019, ©钱佳华Qian Jiahua

		在很多作品中会出现重复的类似微浮雕的印章形象，无法呈现的图像几乎只能被肉眼察觉，你怎么看待作品中的这种属性？
先是受到绘画材料物质性的启发，从无法抹平的表面颗粒转而变成去强调它们。再是一种对抗屏幕图像泛滥时代的情绪。
		近期创作已经不局限于传统的布面绘画，出现了更为复杂的立体结构，甚至是墙面雕塑，你认为观众应该用和介入传统平面绘画相同的方法来介入这些作品吗？
都可以。我关注的是物质本身，材料、色彩、造型、结构到空间关系等，都是物的形态，我希望传递一种有机的可能性。

累卵Dangerous eggs, 120×90cm, 布面丙烯Acrylic on canvas, 2021, ©钱佳华Qian Jiahua

		在作品边缘线上时常出现的三角形状，是一种符号，还是更多与绘画结构相关？
是由画面结构决定的，横竖间的倾斜角度自然就形成了三角形。
		你更希望观众面对你的作品时首先进入审美通道，还是进入那种难以言表的充满神秘性的“崇高”通道？
感受神秘性的崇高本身也是一种审美活动，或者说是自带神秘性的美学特质，如果我的作品里有这种特质，我也欣然接受。

24：25, 120×85cm, 布面丙稀Acrylic on canvas, 2013, ©钱佳华Qian Jiahua

		你认为你的绘画会不会形成一种范式，从而产生被ai的再生产削弱稀缺性的风险？
如果Ai 能把直觉流动和灵光乍现做成一种范式的话，我还挺想看看的。
		你怎么看待这种审美直观的图像，对你来说它是否是一种意识形态的延展？
任何图像都多少携带作者的意识形态。我比较倾向由审美直观或美学理念来带动图像生成，而非图像叙事。

溅起Splash Up, 200×160cm, 布面丙稀Acrylic on canvas, 2016, ©钱佳华Qian Jiahua

		在你的作品当中，似乎隐藏了一些情绪，给人一种冷静收敛的感受，你是如何在这种形势下体现你的主体性或是私人情绪的呢？
隐藏，也就是有。我恰恰就是通过营造强弱张力的方式来强调其中微弱温度所指向的“弱”。

砖Bricks, 软木上丙烯Acrylic on cork, 46×84.5×7cm, 2023

		Do you consider your work to be in the abstract category?
In a broad sense, yes.
		Are your images laid out rationally and in advance, or do they unfold directly on the canvas?
Directly, each step advances according to the results left by the previous step.

把倾斜的扶正Putting the tilted one right, 200×170cm, 布面丙烯Acrylic on canvas, 2018, ©钱佳华Qian Jiahua

		In many works, repeated images of seals resemble micro-reliefs, unrepresentable images that are almost only perceptible to the naked eye. What do you think of this attribute in work?
Firstly, it was inspired by the materiality of the painting material, moving away from the surface particles that cannot be smoothed out to emphasise them. Then there is a mood against the proliferation of images on the screen.
		Recent works have gone beyond traditional canvas painting to more complex three-dimensional structures and even wall sculptures. Do you think the viewer should be able to intervene in these works in the same way as in traditional paintings?
Both. I am concerned with the material itself, the materials, the colours, the shapes, the structures, and spatial relationships, all of which are forms of things, and I want to convey an organic possibility.

		Is the triangular shape that often appears on the edge of the work a symbol, or does it have more to do with the structure of the painting?
The structure of the painting determines it. The angle of inclination between the horizontal and vertical forms the triangle naturally.
		Would you prefer the viewer first to enter the aesthetic pathway when confronted with your work or to enter the ineffable and mysterious "sublime" way?
Feeling the mysterious sublime is also an aesthetic activity in itself or rather an aesthetic quality that comes with mystery, and if there is such a quality in my work, I am happy to accept it.

		Do you think your paintings create a paradigm that runs the risk of diminishing scarcity by the reproducing of Ai?
I'd like to see if Ai can make a paradigm out of intuitive flow and aura.
		What do you think of this aesthetically intuitive image, and is it an ideological extension for you?
Any image carries more or less the ideology of its author. I let aesthetic intuition or ideas drive image production rather than image narratives.

		In your works, you seem to hide some emotions, giving people a sense of calmness and restraint. How do you reflect your subjectivity or private emotions in this situation?
Hidden, that is to say, present. It is precisely by creating strong and weak tensions that I emphasise their weaknesses in them.

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