从流动的色彩看郭然的《四季映像》

　　郭先生这次的作品与以往有所不同。记得几年前在工作室看到郭先生的作品大多以叙事为主，写实偏多，虽然也不乏抽象的创作，但与这次的作品相比，差别甚大。可以说，《四季映像》是郭先生的一次颠覆，让自己不再为现实所困。

　　Guo Ran’s work this time is different from previous ones. I remember that most of the works I saw in his studio a few years ago were mainly narrative, with a focus on realism. Although there are abstract creations, compared with this work, there is a big distinction. It can be said that "Four Seasons Mapping" is a subversion of Guo, and he is no longer trapped by reality.

　　郭先生说，多年前就已经开始这种风格的创作，只不过开始较为零散，创作的背后往往都是自己刹那间的冲动。

　　Guo said he had started creating this style many years ago, but it was sporadic initially, and the inspiration was often his fleeting urge.

　　岁月如歌，四季如诗。在匆忙的都市生活中，我们已很难停下脚步来感受简单的快乐。而郭先生却是对世间万物报之以情的人。在近年的创作中，郭先生尝试将中国山水画中的泼墨与油画的薄涂、厚涂以及擦抹相结合，以期为世人留下瞬间的感受。

　　Time flies, and four seasons fill the measure of the year. In busy urban life, it is difficult for us to take a moment and feel some simple delight. However, Guo loves everything in the world. In Guo’s recent works, he tried to combine the splashed ink in Chinese landscape painting with impasto, thin paint and wiping in oil painting to leave a momentary feeling of the world.

　　正是缺少了笔的应用，他的画作反而呈现出一种自然的流动感，这很容易让人联想起美国的抽象表现主义大师杰克逊·波洛克。正如爱德华·卢西·史密斯在《后现代：1945年以来的视觉艺术》中对波洛克的点评，“他的画面里有着持续的动态”，这种流动着且不可预知的艺术效果才最是动人。在《四季映像》中，前三个系列是郭先生早些年的创作。《春》的绿色苍翠而富有生机，绿意朦胧间流动的是微风与树叶亲密的交谈。隐藏在绿色之中的是生命的张力，仿佛回到了鲁迅先生笔下的“百草园”。《夏》是炽热的，几乎被红色铺满。又像是钢铁灼烧一般，被火苗包围，刺眼而明亮。《秋》就如咆哮的黄河，汹涌澎湃，川流不息，孕育了历史悠久的中华文明，也支撑起炎黄子孙的精神支柱。《冬》是最特殊的系列，也是郭先生最近的创作。他说是冬奥会期间观看滑雪项目带来的灵感。“人生到处知何似，应似飞鸿踏雪泥“，还有什么能比这种流动的形式更适合展现冬的心境？四季轮回，宛如人生的不同阶段，都要一一走过。

　　It is the lack of brushes that Guo’s paintings show a sense of natural flow, which is easily reminiscent of the American abstract expressionist master Jackson Pollock. As Edward Lucie-Smith commented on Pollock in Late Modern: The visual arts since 1945, there is a constant dynamic in his pictures. This flowing and unpredictable artistic effect is the most moving part. In "Four Seasons Mapping", the first three series were created in Guo’s early years. The green in “Spring” is verdant and full of vitality. What flows among the hazy green is the intimate conversation between the breeze and the leaves. The tension of life is hidden in the green, which brings us back to the "Hundred-Grass Garden" written by Lu Xun. "Summer" is fiery, almost covered in red. It is also like burning steel, surrounded by dazzling and bright flames. "Autumn" is like the roaring Yellow River, surging and flowing. It has bred the old Chinese civilization and supports the spiritual pillar of the Chinese descendants. "Winter" is the most special series, and it is also Guo's latest creation. Guo said this series was inspired by watching ski events during the Winter Olympics. Life is adrift, like a swan goose steps on the snow and then flies away in a blink of an eye. What could be more suitable to express the mood in this series than the flowing form? The cycle of four seasons is like the different stages of life. We need to pass one by one.

　　郭先生富有激情而又充满色彩张力与自由的泼洒方式，让我们在视觉上感受到极大的震撼。相较于波洛克的滴流作品，郭先生的画作效果更为圆润厚重，带有传统中国山水画独有的特质。无声的线条在画布上缓缓流淌，自有疏密与韵律感，是个人本能的、深沉的内在情感的流露和反映，令整个画面满布深邃的气息。《四季映像》将人生四季以一种“只可意会不可言传“的形式描绘出来，同时也留给我们每个人想象与解读空间。

　　Guo’s splashing form is full of passion, color tension and free, which brings us a great visual shock. Compared with Pollock's dripping works, his paintings are more mellow and thick, with the unique characteristics of traditional Chinese landscape paintings. The silent lines flow slowly on the canvas, with their own sense of density and rhythm, which reflects personal instinctive and inner emotions, filling the whole picture with a profound atmosphere. "Four Seasons Mapping" depicts the four seasons of life in a form that can only be understood but cannot be expressed in words. It leaves room for everyone to imagine and interpret.

（郭曦文Guo Xiwen）