Q&A ｜曹根 #痕迹本身也在建构画面

曹根

重庆

2022

" 溶解具象最开始可能是一种训练 "

		你觉得电子屏幕对你创作会有影响吗？
有影响，我甚至会画一些屏幕。
		在一个图像可被批量生产的时代，版画实践在你的绘画创作中的意义是什么？
我的工作在印刷与绘画反复的过程里推进，版画的复数性本身也在对画面起作用，置入了某种不确定性。这种绘画的机制会导致我最初的预期改变，从而形成另一种结果。当然，版画的痕迹本身也在建构画面。

Spectacle, 170×260cm, 布面丙烯Acrylic on canvas, 2021, ©曹根

		你早期的作品是围绕着城市景观出发，重庆这种具有错落性的城市是如何启发你的？
重庆很特别，错落的建筑群是大多数城市没有的，哪怕只在现实的、人的尺度下观看也能感受到空间和场景的奇异。
		为什么没有选择前往艺术氛围更为浓重的一线城市，而是工作生活在重庆。
从本科开始我就一直在重庆，现实中的干扰相比其他城市来说少一些。

Unrecognized System1, 76×105cm, 纸本丙烯Acrylic on paper, 2018, ©曹根

		为什么偏好把具象对象抽象化？
溶解具象最开始可能是一种训练，因为具象的内容对我来说还是太直白，也想在画面中保持某种观看的难度，所以逐渐成为现在的偏好。
		作品中拼贴感，是图层概念，还是指向一种透视的变形？
先有图层概念，结构上也有透视的需要。

焦土Scirched Eart, 200×408cm, 布面丙烯Acrylic on canvas, 2022, ©曹根

		对于绘画呈现在何种材质上，你是如何做出决定的，比如选取木板、纸本、这种标准是什么？
我自己没有特别偏好的材质，选择的标准更多还是因为画面的需要而决定的。
		你的作品更多强调的是观念还是审美？
审美。

Untitled 5, 150×120cm, 布面丙烯Acrylic on canvas, 2020, ©曹根

		在某些作品中，呈现出了一种形和颜色整体和谐性，你有没有提前去用一种纯审美的角度去测量/调研去做出最终决定？还是采用一种偏数学/理性的方式？
有，一部分是直觉判断，一部分是理性设计的产物。

Untitled 9, 97.5×76.5cm, 布面丙烯Acrylic on canvas, 2022

		Do you feel that electronic screens have an impact on your work?
Yes, I even paint some screens.
		In an age where images can be mass-produced, what is the significance of printmaking practice in your painting?
My work moves through a process of printing and painting repeatedly, and the plural nature of printmaking works on the image, placing a particular uncertainty. This pictorial mechanism leads to a change in my initial expectations, resulting in a different outcome. Of course, the prints' traces themselves also construct the image.

		Your early works were based around urban landscapes. How did the staggered nature of Chongqing inspire you?
Chongqing is unique in that the staggered mass of buildings is something that most cities do not have, and even when viewed on a realistic, human scale, you can feel the strangeness of the space and the scene.
		Why did you choose to live and work in Chongqing instead of moving to a first-tier city with a more substantial art scene?
I have been in Chongqing since I was an undergraduate, and the reality is less intrusive than in other cities.

		Why do you prefer abstract figurative objects?
Dissolving symbolic objects was probably a training at first because the figurative content was still too straightforward for me, and I also wanted to keep some viewing difficulty in the image, so it gradually became a preference now.
		Is the sense of collage in the work a concept of layers, or does it point to a kind of perspective distortion?
The concept of layers comes first, and there is also a need for perspective in the structure.

		How did you decide on the materials for the paintings, for example, wood and paper? What is the criteria for this?
I don't have a particular preference for materials. The choice is more based on the needs of the picture.
		Is the emphasis in your work more on concept or aesthetics?
Aesthetic.

Critique of Not-so-pure Reason不太纯粹理性批判, SIMULACRA拟像, 2023

		In some works, there is an overall harmony of shape and colour. Do you measure/research in advance to make a final decision from a purely aesthetic point of view? Or do you take a mathematical/rational approach?
Yes, partly intuitive and partly the product of rational design.

留下评论