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Wang Shaojun: Internal Uniformity By Fan Di’an
来源: www.cafa.edu.cn 时间:

Wang Shaojun: Internal Uniformity
By Fan Di’an

“My eyes are not anxious when I confront the world, as the external things around me and my inner part are two different worlds. As for external things, I believe there are always noisy changes, while my heart always sleeps in the hot birthplace of art, which enables me to enjoy being peaceful, indifferent to fame and wealth to all eternity. ”
 —Wang Shaojun
 
As Wang Shaojun has developed his art since the beginning of the reform and openingup period, his confession is from the bottom of his heart, this allows people to know about his position on art, especially his mentality in regards art. As a matter of fact, artists of this period were faced with the conversion from an external cultural situation, especially the changes in artistic trends. In the particular field of artistic practice, they even encountered a variety of multiple artistic phenomena, especially the impact from information waves on the art concepts. Fundamental changes, occurred to the context of the whole Chinese contemporary art over the past few decades, among which, the most austere change comes from the surging western art concepts and styles, thereby it stimulates the transformation of Chinese art into creative ideas and methods, providing possible orientations for art thinking and creative practices. Therefore, how to hold one’s psychological guidance in the context of the ever-changing external conditions, particularly in exploring one’s own artistic direction, this has become the issue with epochal universality. In the coordinates between the outside world and self mentality, between the cultural situation and self-pursuit, these pairs remain both contradictory while also providing creative tension, Wang Shaojun handles the relationship well between “changes” and “ego”. Not only can it be attributed to academic conditions which are relatively closed but calm in the art academy, but it can also be concluded from his conscious realization in the nature of art. If his works were collocated for appreciation, various forms, thoughts and purposes can be found, though the exploring spirit he persists remains distinct. His refinements of language in art keep everything well joined up and heading toward the internal, so that the constantly deepened thoughts and practices lead to his personalized art style, speaking exactly they merge into his artistic character.

Wang Shaojun focuses his creations on portrait sculptures. In his works, we can find his steady, subtle and simple language.Portrait sculptures (Statues) as a traditional or even classical form of art expression, required for both in-depth experience of the subject personality and unique art methods of expression from the artist so as to create a visual biography for the subject. Portrait sculptures through the ages have left many templates with “spirituality and resemblance”, but for Wang Shaojun, these are the sources of his research and learning. He has been focusing on the relevance of the similarity between appearance and spirit, and he has tried to find an appropriate contrast between shaping the reality of the subject and presenting his feelings, especially on the basis of western portrait sculpture traditions, he tends to explore the form of language of contemporary portrait sculpture. In his portrait sculptures, there is a very obvious series, which means that he takes cultural characters as the theme of his creations and research. This kind of choice for him seems to be natural, since he has a sincere recognition of the cultural traditions; he has a deep insight into the classical spirits among the cultural traditions. Thus he has a profound cognition of cultural figures and art figures. The subjects he chooses for his sculptures, all have the cultural feelings of literati intellectuals, especially the inner and subtle temperament they were endowed with in the spiritual world.

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