到处玩具 Toys Everywhere

所谓“泛二次元人群”,是指在“次元的意义已经极为模糊”的现实语境中,“次元人”正渐变为“泛次元人”。这一概念不仅可以帮助次元文化摆脱‘低龄’,‘幼稚’和‘简单’的标签,还能成为包容(更多)来自不同国家,或有不同文化消费习惯的年轻人创造适合他们自己的(含混的次元文化)文化消费观念的新趋向。


   多元人文文化之间的相互交汇成为势不可挡的全球文化发展趋势。当更多可能性存在的时候,相互并存最好的方法就是拼贴:知识拼贴,文化拼贴,媒介拼贴。在“泛二次元”这种文化层面中没有什么拼贴是不能被接受的,更何况绘画和数字媒体的拼贴是当下最时兴的艺术创作手段之一。这种拼贴技术容易实现艺术家对自身内心世界的表现,既虚拟又真实可见。


   一般来说,软件和硬件同时作为绘画创作的工具来使用,对很多艺术家来说已经不是什么新鲜的话题了。但是时下软件在创作过程中的使用占据越来越重要的地位,硬件的使用逐渐成为一种呈现某种形象或者符号的媒介。电子软件在创作阶段的使用不需要消耗太多的资源,比如纸张和笔墨的消耗是不必要的。硬件在新绘画时代只会渐渐失去独占性,虽然材料的魅力仍在。绘画摆脱了对某种固定工具使用的依赖,在这样的发展阶段中,是否使用传统的纸张和笔墨只是看创作过程的需要。丝网印刷作为新绘画表现方式,让手制艺术品更接近大众。艺术家先把电子创作出来的图像印刷打印出来,然后再加入颜料、笔触以及其它的变化,这个图像既会显得更加有生动性。这样的创作过程更接近标准的二次元绘画。


   “绘画”这种媒体本身,自古以来就是包容万象的一个载体,图像数字化只是让绘画表现形式发生了生动的转变而已,让绘画找到更多活在当下的途径和机会。也许下一个“波时代”的到来,人们会尝试用“波”来创作绘画。艺术本身还是艺术,只要它内心是自由的,只是在形式实现的过程中更具当下时代的艺术特征罢了。如果用数字化的方法将画面更加丰富化,那将意味着“绘画”本身不再是传统意义上理解的那种“艺术形式”。数字化绘画本身所具有的快节奏性让艺术审美更加随机和快速多变。在王若晗眼中,移动的图像是能给观众留下深刻印象的方式。


   绘画中形象和符号的图像创作和“艺术家的专业素养”,“他对世界的观察和思考”,还有和“生活中所蕴含的不确定性美”这三个要素产生紧要的关系。艺术家手中的形象和符号有时候被随机创造,有时候被却被表现得很作作,很机械,死板。但是不管它们看起来怎么样,却都代表了艺术家在某阶段的创作心境和状态。

   绘画在王若晗的创作观念里非常个人化,思想是自由支配物质的载体。她的每一张作品都独具个性。通过绘画这种“媒体”的再现,能看到日常生活中的种种精神状态。“作画”其实仅仅只是一种过程,一种可能性,一种“媒体”,通过这种“过程”来达到诠释创作人当前愉悦,自由,痛苦,挣扎等不同情绪的目的。要达到这种目的,当然也可以不通过“绘画”这种媒介,作一些和绘画感受相似的事情,找到适合你本人的一种或者多种媒介,通过这种媒介来发现自己,探索自己的内心世界,就是你自己在创作你自己的艺术。只是“绘画艺术”这种媒介除了有链接创作人和她周围世界的功能,还具有一定的保存性,即它能让你有机会,在事后回头安静的看一看你当时内心发展所走的路,在这条路上所留下的痕迹。


   “绘画艺术”在呈现年轻一代的眼里,早就已经摆脱征求别人承认和肯定的这种意义层面。如果某绘画作品在起笔之前所定的目标是用来“交流”的,不管这种“交流和流通”是人文情感还是经济方面上的,那么其作品难以摆脱在做“讨人同情”或“讲授某种道理”的姿态。在这种定义下创造出来的作品其实和“自由艺术”没什么关系:绘画只是一个为了“交流”这个目的,被利用了的工具。


   具体来说,在王若晗眼里,“绘画”的初衷不是用来交流,或者给别人看的。只是越来越多人更愿意欣赏和消费艺术家们的作品,可能他们更想通过作品窥视这个感情极其细腻坦率的人的生活,以及她的精神状态,也有可能他们在这种绘画语言表达中则更多地看到了自己的影子,通过艺术家对在她周围所发生事件敏感的观察和细腻的表达,从艺术品消费中意识受到无限的启发,灵感受到无限的开启。


Firstly, the term Pan-Twodimensionality is to be clarified. „Pan-Twodimensionality“ is the description of a group of humans usually made up of young people from different cultural societies. Due to the heterogeneous consumer habits of its members, which are influenced and shaped by the respective cultural understanding of the various societies, this group establishes a new trend for the consumer perception. To this new trend, the border between different dimensionalities is fluid; In parts, the border does not play any role anymore. Normally a two-dimensional form of presentation generates an impression of being shallow, simple, naive, designed for children, especially when one thinks about animation or comics. The new term „Pan-Twodimensionality“ lends the whole dimensional way of thinking a depth and flexibility that helps understand the importance of inclusiveness, integration and tolerance and helps understand how the young generation lets its new consumer perception be shaped by multiculturalism.


Today's cultures have become more heterogeneous and they will keep on becoming even more diverse. This noticeable cultural development matches the trend of globalisation towards progression. To visualise the multicultural actuality, the Chinese artist Ruohan Wang chose the technique of collage. According to her, everything can be made into a collage: differing knowledge, diverse cultures and various media. On the level of „Pan-Twodimensionality“, everything can be assembled. Due to this, the artist opts for a collage of traditional drawing and digital medium because this type of collage ranks among the most modern methods of collage art of all. A collage of two media is able to narrate the artist's inner world profoundly. This form of narration is both surrealistically virtual and tangibly true.


Generally, contemporary artists are already familiar with a combination of software and hardware for artistic design. The relationship between these elements is changing under the influence of the digitally and technologically driven progress. The usage of software has already taken over the main role in the creative process. A big advantage of using a software-directed creative process is that it requires substantially less resources than using hardware like paper and paint material. Figures and symbols performed by hardware lose their medial flexibility. Due to this the hardware method has gradually lost its previous dominant position in the creative process of modern times, although the importance of the materiality of hardware still exists because it still appears attractive to numerous artists and recipients. With the help of software, the act of painting becomes independent of hardware. The opportunity to create is therefore expanded in terms of time, space and method. In this modern creative process the artist is much more free to decide when and if he requires traditional painting tools for his work. Screen printing has long been one of the most well-known and popular creative methods. More and more art enthusiasts are collecting graphic prints created by this procedure. In this process, artists first print the graphic which was created with the help of computer programmes. Afterwards they refine the digital graphic through traditional painting using paint and brush. Through these two processing methods the graphic appears vivid and interesting. These two totally different methods of creating art possess similarity with the procedure of animation art.


„Paint“ has by cultural-historic origin been a medium in which the whole universe was integrated. The display of figures and symbols, which are nowadays digitalised through the use of computer programmes instead of being created through traditional ways of painting, just represents a change of method through which the art of painting finds a way to exist contemporarily. Evidently the artists therein discovered a way of visualising their artistic concept which conforms to the aesthetic taste of current time. Art still remains as art, it is original and internally free. However the artistic character of a certain zeitgeist is what modifies art. Through digital methods of creating the content of a painting can become more substantial and dynamic. The traditional understanding of art of having to construct a picture is being widely deconstructed through this dynamic character. In the eyes of artist Ruohan Wang, digital images can leave behind a profound impression on its recipients.


There are three elements closely associated with the creative process of an artistic idea. The technical professionalism of an artist, his sensitive awareness and careful reflection on the world and the aesthetics of randomness in his everyday life. The elements of creating are never identical, on the contrary they are very different from each other. Despite their difference all the elements represent the artist's attitude, insight and mental state in each creative period.


Painting is very private, very intimate in Ruohan Wang's approach. In her concept free thinking is carrier and base. Every one of her creations is individual. In her opinion, visualising her thoughts through the medium of painting is helping her making herself aware and see her own mental state. „Painting“ according to her is only a process after all, an opportunity, a medium to connect A and B and mediate between them. Through this process, emotions such as joy, the feeling of freedom, pain and struggling, etc. can be experienced by other people. To achieve this goal one does not necessarily have to use the method of painting, there are other comparably functioning ways to create. One should however find a medium or several media to discover oneself and create a map of one's own mental landscape. When someone has found the appropriate process, you can speak of creating art. According to Ruohan Wang, a painterly creation contains a function of conservation in addition to its connective impact. In other words the painted creation lets her look back on how the process of mental development of her intuitive inner world has proceeded.


In the eyes of the young generation, „visual art“ is freed from the acceptance and recognition of the viewer or the critics. If one strives for the acceptance and recognition of others, one will come under suspicion of flattery. If one has a goal of entering into communication with others before beginning painting, be it on an emotional or economic level, the creation will inevitably have a character of demanding pity or being didactic and prophesying. A work of art created in this situation doesn't have much in common with free art: the act of painting is being instrumentalised for the purpose of communication.


To Ruohan Wang, painting does not serve a communicative role. She carries out the act of painting and the artistic process solely for herself. Nevertheless she is readily willing to show us her freely created works of art. In doing so, she hopes to sensitise our own perception with the help of her artistic creations; that we can be inspired borderlessly by her careful awareness of her environment which she has sensitively and artistically brought before our eyes through the medium of graphic art.