付斌／從圖像向物像的轉化 Fu Bin: Transformation from image to object

在當代藝術的語境中，版畫作為一種樣式顯然是被忽略了。而作為一種思維方式、一種訓練手段的「版畫」卻越來越成為學術界所關注的話題，這在學院的版畫教學中體現的尤為突出。每年的畢業作品展，版畫系同學的作品總能受到更多的關注。從教學的角度來說，版畫兼具了繪畫基礎、材料認知、純技術操作、以及跨界思維等等課題，在這樣的構架中，學生有機會接觸更多的訓練角度，拓寬了創作的維度。而歷史的看，在當下版畫作為圖像的再現工具的功能已經弱化，版畫越來越成為引發藝術家產生「新」的藝術思考的起點。也正是基於這樣的思考，我從2010年開始把工作室以及研究生的方向都設定為了「版畫的應用性研究」，試圖從使用版畫的角度出發探討版畫教學的可能。

付斌就是在這個時段考取了研究生，進入了我的工作室。付斌2007年畢業於中央美院版畫系本科，當時主修石版畫專業，對於版畫的本體語言有過較為深入的研習，畢業後進入張曉剛工作室，協助藝術家完成版畫創作。也正是畢業後的幾年工作經歷，讓付斌有機會轉換視角重新審視當代藝術，重新思考自己未來發展的方向。「版畫」的未來在哪裡？版畫的形態和邊界又該如何界定？帶著這樣的問題付斌重回學院，開始了他的研究生課程。付斌性格穩重，做事認真，具有極強的執行力，而這些優勢也恰恰適合使用版畫這樣的兼具繪畫和製作的藝術媒介，在三年的學習過程中，從石版畫逐漸轉向木刻原版的創作。付斌的作品無疑來源於版畫，但是付斌的「版」已不再是為了印刷而服務，「版」被獨立出來，傳統中為了印刷而由刀所製造的凹凸表面被付斌發掘出來，具有了獨立的審美性質。更重要的是，付斌的作品已經把「版畫」由圖像轉化為了物像。在活躍於中國當代藝術的青年藝術家群體中，付斌是相當特殊的，這種特殊不僅僅體現在他的作品中，也更體現在他的學院身份以及認真踏實的治學態度上。在清華美院，經過幾年的磨練，付斌已經成為青年教師的骨幹，在教學一線發揮作用。作為導師，付斌也讓我感到非常驕傲，在這裡，我要預祝付斌的香港個展取得圓滿成功，同時也祝願付斌的未來可以平和自然，享受藝術，享受生活。

In the context of contemporary art, printmaking, as an artistic form, has been clearly neglected. Yet, as a mode of thinking and training, it has become a growing subject of academic interest, which has been highlighted in printmaking pedagogy in the institutions. In some graduation exhibitions each year, works of printmaking students have always attracted more attentions. From the perspective of pedagogy, printmaking includes various topics as the foundation of painting, the knowledge of materials, the techniques of operation and the awareness of boundary crossing. Within such a framework, students might have access to more perspectives of practice, enabling them to explore more dimensions for creation. From the historical perspective, as a tool of representing images, currently the role of printmaking has been weakened. However, it turns into a starting point of inspiring artists’ NEW reflections of art. Based on the thoughts above, I have turned the research orientation of the studio and of postgraduates to Applied Research of Printmaking since 2010, aiming to discuss more possibilities of printmaking teaching from the point of using the prints.

It was in this period that Fu Bin joined my studio as a postgraduate. As a printmaking graduate of China Central Academy of Fine Arts in 2007, Fu majored in lithograph in the university and hence acquired a deep study of the unique language of printmaking. After the graduation, he joined the studio of Zhang Xiaogang and assisted Zhang with his printmaking creations. This experience enabled Fu to take a new look at the contemporary art from a different perspective and reconsider his own career orientation. What is the future of printmaking? How could we define the patterns and bounds of printmaking? With all these questions Fu returned to the school and started his graduate course. Fu is a sedate and earnest doer. All these personalities help him master the techniques of printmaking, as an art medium involving both painting and operation. During his three-year study, he turned the direction of his creation from lithograph to woodcut prints. Fu’s works are undoubtedly derived from printmaking, but Fu’s “print” no longer serves for the printing, but gets independent from it instead. By exploring the knife-cutting concave-convex surface in traditional printing, Fu endows his “print” with independent aesthetic character. More importantly, Fu’s works have transformed the “printmaking” from image to objects. Among all the active young artists in the Chinese contemporary art community, Fu is a special one, which is not only reflected in his works, but also in his academic background and his sincere attitude towards teaching. After several years of teaching experience, Fu has become a key member of young teachers in Academic of Arts & Design of Tsinghua University. As his tutor, I feel very proud of him. At this point, I would like to wish him a great success of his solo exhibition at Hong Kong as well as a peaceful and bright future. Also, I hope that Fu could always enjoy his life and enjoy the art world.