David个展—中国古代艺术作品影响下的雕塑、浮雕、绘画展

David Evison（余大伟）为湖北美术学院客座教授、德国柏林艺术大学终身教授，著名现代主义雕塑艺术家。

David个人工作照

David作品展前言

David Evison教授与中国有很深的渊源， 1944 年出生于广州，1950年移居香港，随后回到英格兰，在英国完成艺术学习，先后在英国利兹艺术学院学习绘画，伦敦圣马丁艺术与设计学院学习雕塑。随后在欧洲多所艺术学院任教，1982-2010年任德国柏林艺术大学雕塑系主任、终身教授。David Evison教授在欧洲享有盛誉，是位极富影响力的艺术家，擅长运用金属材料创作，举重若轻。

David Evison教授2003年以来一直致力于与中国艺术界的学术交流，是中国美术学院中德学院的奠基人之一，受聘中国美术学院、鲁迅美术学院担任客座教授，2013年受聘为湖北美术学院客座教授。David Evison教授在我校雕塑系授课期间为学生带来了严谨的抽象思维训练和自由开放的现代主义艺术语言表现方法。在教学中尝试以现代主义抽象艺术的语言来阐释楚文化的传统艺术造型，启发学生的创新思维与表现力，从而创作出新的艺术形态。

这次展览的作品主要是David Evison教授在中国工作生活期间创作的作品,包括抽象雕塑、浮雕和创作草图。在中国的工作生活经历使David Evison教授对中国传统艺术产生浓厚兴趣，使其艺术从西方抽象思维的理性出发，以西方现代主义抽象思维对中国传统的造型艺术进行解构与重读，进行了非常有意义的尝试。在西方抽象造型中赋予东方诗意的逻辑。这个小型的个人作品展以管中窥豹，得以一窥David Evison教授广博的学术素养与深厚专业素质。

——张嵩焘

作品图片（部分）

展览时间：2018.11.03-11.17

展览地点：湖北美术学院昙华林校区美术馆三楼

David关于中国的创作及交流

In 2002 I decided to rent a studio and living space in Sau Jia Cun, Beijing. My intention was to work there for 3 months each year, making2 visits each year. In Nanjing I had seen the work and visited the studios of the wood cut artists, who use an ancient technique, printing on Anhui paper but with modern elmwood veneer plywood. Parts to be printed are left high whilst the clear areas are cut back. I based my wood cuts on Norwegian Stave Church relief sculpture having read that small Chinese ornaments had been found in Viking tombs and had influenced their sculpture style as in the 12th Cent. Church at Urnes. They have a striking similarity to Chinese relief sculpture. Here was a subject where I could attempt to combine Western and Eastern art styles.

2002年，我决定在北京索家村租一间房子作为工作室和生活的地方。我打算一年去两次，每年待三个月。在南京的时候，我就曾看过这幅画，并且参观了木刻版画家们的工作室。他们古今结合，运用现代的榆木饰面胶合板在宣纸上印刷。将要印刷的部分抬高，同时切掉空白区域。据挪威乌尔内斯木条教堂的浮雕中记载，在丹麦出土的维京墓中发现了一些中国的小饰品，这些饰品影响了12世纪的雕塑风格。他们与中国浮雕有着惊人的相似性。这给了我灵感，去试着将中西方艺术风格结合起来。

These wood cut prints lead me to make relief sculpture, modeled first in clay and then made in fibreglass. I chose black as the wooden Urnes reliefs have been painted with tar to preserve them from the weather and it gives them a special character. In fact the wooden Stave Churhes used Viking longboat construction techniques and are regularly painted with tar, which is why they have survived the difficult Norwegian climate.

这些木版画给了我制作浮雕的灵感。首先，用黏土建模，然后再用玻璃纤维成型。我选用了黑色，原因是乌尔内斯的浮雕上涂了一层焦油，这可以保护它们免受天气影响，同时赋予了它们独特的艺术效果。事实上，木条教堂采用了维京大战船的建造工艺并且涂上了焦油，这也就解释了它们为何能在挪威严酷的天气条件下，仍旧坚挺。

Because of my background in Guangzhou and Hong Kong I have always been attracted to Chinese painting from the Song, Yuan and Ming dynasties. It has influenced my sculpture made in London, for its top heavy aspect made dramatic by birds eye perspective. This influence seems to have a permanent place in my sensibility. But being in China lead me towards looking more at calligraphy some of which is exceptionally beautiful and achieves the level of high art, a term normally reserved for painting and sculpture in the West.

因为曾在广州和香港生活过，宋、元和明朝的画作一直吸引着我。那些鸟瞰视角下令人惊叹的视觉感受，对我在英国制作的雕塑产生了一定的影响。这对我的艺术感受力产生了长远的影响。在中国的时候，我常常会欣赏书法作品，因为一些书法作品简直美轮美奂，甚至可以说是极致艺术。极致艺术是在评价西方画作和雕塑作品时常出现的术语。

Modernist art in the West has completely integrated native African and Polynesian art into its tradition, particularly in sculpture. But what about the East? We all know Picaaso's remark "had I been born Chinese, I would have become a calligrapher", and Matisse had some great examples in his collection, but we see no influence in their art. That had to wait until the New York abstract expressionists, Robert Motherwell, Jackson Pollock, Adolph Gottlieb. Did the huge mural taken from Dunhuang installed in New York's Metropolitan Museum have anything to do with that ?

西方的现代主义艺术将非洲本土和波利尼西亚艺术完全融入其传统，特别是在雕塑方面。 那么东方呢？ 我们都知道毕加索曾评论说“如果我出生在中国，我会成为一名书法家”，在马蒂斯的收藏中有一些很好的例证，但我们却并没有在他们的艺术作品中看到东方的影子。 直到在纽约抽象表现主义家罗伯特·梅瑟韦尔，杰克逊·波洛克和阿道夫·戈特利布的作品中，这种现象才被打破。那么在纽约大都会博物馆展出的敦煌大型壁画是否与此有关？

When I started to work in three dimensional sculpture at Sau Jia Cun I made calligraphic like forms in 3mm lead sheet by hammering the lead to become rounded which also gives the soft lead some strength. These were then worked into a wooden structure which is like a shell to protect the soft material and which gave up its secrets gradually. They were also intended to have an erotic aspect, hence the titles.

当我开始在索家村做三维雕塑时，我在3mm铅板上做出了跟书法类似的形状，我通过锤击将铅打弯，同时也给了质地相对较软的铅一定的硬度。 然后将它们嵌入一个木质的结构中，就像一个保护软质材料的外壳。我的作品有些许情欲的内容，同时也加强了主题内涵。

Calligraphy written with a Chinese brush shows the character of the person who puts the ink to paper. Practice of course makes for better results but the there is no escaping the pressure on the calligrapher who must get it right first time. To get a similar feeling in material form, I decided to use wax in molten form and pour it onto inclined sheets of baking paper so that the dried wax maintained a fluid character. These long wax forms were then worked over a steel frame, the wax later taken off the frame, cast into bronze using the lost wax process and finally welded onto the steel.

用毛笔写书法其实是在一笔一划中反映书写者的品性。虽说熟能生巧，但即使是书法家也难逃一笔成型的压力。为了在材料形式上获得类似的感觉，我将熔融的蜡倒在倾斜的烘焙纸上，这样蜡可以保持流动特性。然后将这些蜡放在钢框架上加工，随后将蜡从框架上取下，使用失蜡工艺铸造成青铜，最后焊接到钢上。

Continuing the use of poured wax I made a series of wall sculptures where the wax forms were made for me in hollow stainless steel, avery special Chinese technique. They were shipped to Germany and seeing them there I was dissatisfied and tried putting them on the floor where they came alive for me. Some adjustments came later to finish the work. Made in Beijing and Berlin.

我继续使用倒蜡制作了一系列墙壁雕塑，这些雕塑是用空心不锈钢来制作蜡形，这是一种非常特殊的中国技术。 这些雕塑被运到德国，但在那里看到他们让我不太满意。我试着将雕塑放在地板上，因为只有这样他们才看起来活灵活现。 稍后进行了一些调整工作才算完成。 这些是在北京和柏林制造的。

Sadly, the studio complex at Sau Jia Cun was demolished too soon and over 100 artists working there had to look for alternatives. I never wanted to set up another studio in China. But I have visited China each year to teach at CAA Hangzhou and HIFA Wuhan. It was at the Hubei Museum where I saw the incredible sculptures from the Marquis Li tomb which became the subject for my first teaching project at HIFA. And that subject has occupied me in the sculptures and drawings made when visiting China, including the monumental sculpture now placed at the HIFA campus. In a different form the same subject ( the deer and bird chimera ) is used in the two paper machee and

wood sculptures using the method pioneered by Wanlichi Laoshi.

很可惜，索家村的工作室大楼不久便被拆除，逾100名在那里工作的艺术家不得不另寻他处。 我从来没想过中国另建一个工作室。 但我每年都会在杭州的中国美术学院和武汉的湖北美术学院执教。 在湖北博物馆里，我看到了李侯墓中精美的雕塑，这也成为我在湖北美术学院的第一个教学项目的主题。 这个主题对我在访问中国期间创作的雕塑和绘画产生了一定的影响，这就包括现在放置在湖北美术学院校园里的纪念雕塑。 另一个则是“鹿角立鹤”对我产生了影响，使用万里驰老师开创的方法，制作的雕塑。

Many artists have and are making art that attempts to integrate Asian and Western characteristics. It is a continuing and a new frontierin the aesthetic tendency of our times. And I hope that my efforts with sculpture and drawing also play a part in this adventure.

许多艺术家正在或者已经将亚洲和西方艺术特色融合。 它是我们时代审美倾向的延续和新的前沿。 我希望我在雕塑和绘画方面的努力也能在这次冒险中有所助益。

信息来源：雕塑系

编辑：彭玲玲