杨加勇

YANG JIAYONG

杨加勇是一个生活在感性中的人，他的绘画更遵从自己的意识，习惯于从心所想出发，这也是他画面极具感染力的原因。如果说积极理性的生活是现代意义的幸福，那感性而为就是“道”的幸福。“道”是一种境界，直觉的智慧，率性的自然；这也是他绘画的全部意义所在。

杨加勇 如歌岁月 140cm×180cm 布面油画 2018

杨加勇：“我是活在感性中的人”

采访人_ 于丽娜

库艺术= 库：您的绘画是完全来自潜意识的反应，还是开始会有一个现实的触发点？是什么引发了您创作的灵感？

杨加勇= 杨：两种情况都有，通常是潜意识的自我营造和现实的触点相交融，通常在创作一幅作品之前，脑海中会有一个初步的虚拟画面，再通过潜在的直觉发出信号，促使进一步创作，往往画面的最终效果都和起初的想法截然不同，创作灵感的来源是多方面的，无法一概而论，通常一句话，一个现象，一个事件或者一段生活感悟等都有可能瞬间激发我的创作欲望。

杨加勇 坠 140cm×200cm 布面油画 2018

库：在面对一张空白的画布时，您如何将自己的所思所想投注其上？

杨：我会先放空自己，这里的放空是指我与画布、颜料以及音乐之间的关系，音乐是我生活中必不可少的，通常在绘画时会选择交响乐或大小提琴独奏，音乐首先营造出了一种放松的状态。通常我的调色盘是极其脏乱的，类似报废的调色盘，以前我以为是坏习惯，后来才明白这就是自由，或者叫接近自由。看不清具体色彩的时候，获取的更多是感觉，包括我部分单色的作品，都是在这样的调色板上去完成的。去将所思考或者随心所欲的东西捕捉到画面，哪怕是提前就预知的画面结果，到后来都会发生很大的变化，只是大部分会比预想要满意，可能这也是不断创作的动力。

杨加勇 离尘 140cm×200cm 布面油画 2018

库：您如何看待绘画的技术？

杨：这个问题本身就是个伪命题。美术史上没有一位绘画技术不好的画者能够成为大师，能把作品画坏到极致也是一种技术，也是思想意识的载体，我所理解的“技术”一定不仅仅是在学院或者某个师承关系上的方法论，学院教学需要技术，大师更需要技术，只是不能单一的去看一幅作品的技术性，在某种层面上是指绘画的语言及技法，语言即是思想和意识的再现，技法便成了鲜活的实体，看得见，尝得到，所以物象即是心象的反映，即技术也是思想深度的反映。

库：在您的创作过程中，更注重于情感的抒发、审美的愉悦还是观念的建构？

杨：这两点在我的作品中都离不开，这也是我每次作画都有音乐陪伴的原因，情感和审美愉悦应该是艺术创作者都离不开的，它包括的范畴太广了。

杨家勇 雾里看花 140cmx200cm 布面油画 2018

库：您在2013 年的《山水》《无题》等作品中，还保持具象的绘画方式，之后慢慢往抽象演变；在最近创作的《万物生》《如歌岁月》中，作品面貌已经非常的抽象，但在《众生》《离尘》等作品中，似乎保留具象的因素。这是为何？如何看待其中感性与理性的成分？

杨：这种风格的变化正好佐证了我对艺术自身的探索。早期的作品出自本科毕业，正在进行新的尝试，本科阶段喜欢画风景题材，这些作品还延续了风景绘画的一些技法和观念，那时也是创作比较平淡、焦虑和苦恼的阶段。而《万物生》《如歌岁月》《离城》等作品都是近年的新作，其创作过程并没有具体的“抽象”“具象”之分，它们也不能笼统地归纳到抽象还是具象的语境中。这些创作都是我生活和生命体验的结果，所以在我的思维中已消解掉了抽象与具象的概念，哪怕这个概念只在我个人的认知中成立。在与朋友、师长交流的过程中，他们也提出了不同的感受，或是个人神经质般的情感体验，或是一种撕痛、溃烂和纠结感，而这种情感的流露和“抽象／具象”并无直接关系。我是活在感性中的人，所以我更多会对画面的感性成分更痴迷，这句话虽然已经偏向理性。

工作室场景

库：在《万物生》《如歌岁月》这些抽象作品中，是否有现实的参照？因为这些名字非常具体。

杨：常说科学讲道理，而艺术不讲道理。个人坚信我画的是生活，画的是现实，从而才出现了具体的名字。

库：在《毒气弹飞来的清晨》这件作品中，您用极其轻盈的线条与笔触赋予了画面极强的力度感。请问您是如何做到的？

杨：这件作品反应的是我对中东问题的关注，从未停歇过的混战，给中东人民带来了苦难和悲痛，也影响着整个世界格局的变化，在战争中伤亡的不仅仅是当地居民，更有来自世界各地的参与者，像维和部队、红十字协会等等。我之所以用《毒气弹飞来的清晨》为名，是想把一个来自于悲伤的灵感诗意化，这种诗意的表达就是极其轻盈的线条与笔触，尽管如此，沉重的用色与画面整体的构架仍然可以赋予画面极强的力度感。我想这正是创作初心，是重情感所导致的理性使然，以情感承载画面的技法，产生出不一样的画面感受，期盼每一件作品都在吸引我，勾起我冲动愉悦。

杨加勇 毒气弹飞来的清晨 130cm×200cm 布面油画 2018

库：在《坠》《呼吸》等作品中，您将感觉转换为画面的视觉呈现，其转换关键是什么？

杨：对当下身边发生的事件和人的精神状态感知，转化为内心的自我释放，作品名是一种引导读者的迷药，我更想听到其不一样的声音。

杨加勇 芳华 140cm×200cm 布面油画 2018

库：在您的画面中，最大的一个特质就是“鲜活”。您认为，艺术在什么时候，什么情况下看起来最鲜活？

杨：个人认为艺术作品的鲜活，在于一个艺术家有没有捕捉到你所处这个时代最深的痛楚和喜乐。

库：您的作品让人感觉一种“意在言外”的诗意之感。这是否也是对东方传统美学的回归？

杨 ：生在东方，从小骨子里吸的都是东方养分，作品中“意在言外”的诗意感就像我们出生就是黄皮肤一样自然。

杨加勇 欲之初 140cm×180cm 布面油画 2018

YANG JIAYONG:"I'M A PERSON WHO LIVES EMOTIONALLY"

Interviewer_Yu Lina

KUART=KU: Do you usually paint subconsciously, or will there be a realistic trigger at the beginning? What inspired you to create usually?

YANG JIAYONG=Y: Both, I suppose. When creating awork, I usually have a preliminary virtual picture in mymind at the very beginning, and then the brain sendsout signals to promote further creation. Thus, the final picture is totally different from the original idea. Thereare many sources of creative inspiration, which cannot be generalized. Usually, a word, a phenomenon,an event or a life experience can instantly stimulatemy creative desire.

杨加勇 吻 140cm×180cm 布面油画 2018

KU: How do you express your thoughts through painting?

Y: By relaxing myself completely with some musicand a dirty and disorder palette. Before painting, I will listen to some music. Music is absolutely necessary in my life. I usually listen to symphonies or violin solos when drawing, which makes me feel very relaxed. My palette is usually extremely messy, as if it was scrapped. I used to think the way I use it was a bad habit, but later I realized that this is some kind of freedom, or near freedom. When you can't see the specific colors, you get more feelings. Some of my monochromatic works are done with my messy palette. Turning things in mind into paintings, even if you already have a complete picture in your mind, it will change a lot at last. But most of them will change in a better way, better than you anticipate, which may also be the driving force for continuous creation.

KU: What do you think of painting skills?

Y: The question itself is a false proposition. In the history of fine arts, no painter with poor painting skills can become a master. It is also a kind of skill and a carrier of ideology to make his works extreme worse. The skill I understand is not just a methodology in a college or a mentoring relationship. College teaching needs skills, master also needs skills, but we can not only talk about a single skill a part from other things in the painting. On a certain level, skill refers to the language and techniques of painting. Language is the reproduction of ideas and consciousness. And skills will become vivid entities, which are visible and perceptible. Therefore, images are the reflection of the inner world, that is, skills are also the reflection of the depth of thought.

杨加勇 娩 160cm×200cm 布面油画 2018

KU: In your creative process, do you pay more attention to emotional expression, aesthetic pleasure or the construction of ideas?

Y: These two points are inseparable in my works, which is why I always have music accompanying me in painting. Emotional expression and aesthetic pleasure should be inseparable from artistic creators. It includes a wide range of areas.

KU: Your works such as Landscape and Untitled in 2013, you still maintain the concrete painting style, and then gradually evolve to abstract. Your recent works of "All Life’s Growing" and "Life is a Song" are even very abstract. But "Beings" and "Free from the Crowds" seem to still retain some concrete factors. Why is that? How can we understand the components of sensibility and reason in your works?

Y: This change of style just proves my exploration of art. Early works were painted when I just graduated. I was trying some thing new. At that time, I liked to paint landscape paintings. These works still painted in some skills and concepts of landscape painting. That stage was also a relatively flat, anxious and distressed stage of my creation. I felt quite dull, anxious and worried in that period. However, works such as "Beings", "Life is a Song" and "Free from the Crowds" are all new works in recent years. There is no specific distinction between "abstract" and "concrete" in my mind when I painted them, nor can they be simply be divided into abstract or concrete paintings. These creations are the reflection of my life experience, so the concepts of abstraction and concretization have been dispelled in my mind, even if they are only valid in my own cognition. When I talked to friends and teachers, they also mentioned some feelings, including personal neurotic emotional experience, or sense of tearing, festering and tangling, which is not directly related to the "abstract or concrete" expression. I am a person living in an emotional life, so I will be more obsessed with the emotional elements of paintings, although what I’ve said has been biased towards rationality.

杨加勇 灵 160cm×200cm 布面油画 2018

KU: Are there any realistic references to the abstract works of "Beings", "Life is a Song"? Since these names are very specific.

Y: There is a saying, “ science is reasonable while art is not reasonable.” Personally, I firmly believe that what I draw is life, and they are about reality, and that’s why they were named very specific.

KU: In "The Morning of the Toxic Gas Bomb Flying there", you give the painting a strong sense of strength with extremely light lines and strokes. How did you do it?

Y: It is about my concern for the Middle East issue. The unremitting war has brought suffering and sorrow to the people of the Middle East, and has also affected the changes of the world pattern. The casualties in the war are not only local residents, but also participants from all over the world, such as PKF, the Red Cross and .etc. The reason why I use "The Morning of the Toxic Gas Bomb Flying there" as the name is to poeticize the sad feelings. This requires extremely light lines and strokes. Nevertheless, heavy color and the overall framework of the painting can still show a strong sense of strength. I think the painting just reflected my original intention of creation. Which was caused by emotional feelings but turn into rational results at last. The skills that make my paintings full of emotion make the paintings involve different feelings. And I expect every painting I draw can attract me and make me happy and get excited.

杨家勇工作室

KU: What's the key to the conversion of feelings into visual presentation of images in works like "Falling" and "Breathing"?

Y: I usually translate my perception of things around me and people's mental state into self-release of my heart. The titles of paintings are some kinds of mysterious drugs to guide viewers. I would like to hear its different voices.

KU: One of the greatest qualities of your paintings is "fresh". When and in what situation do you think the art looks the most fresh?

Y: I personally think that the liveliness of art works depends on whether an artist has captured the deepest pain and joy of his or her time.

KU: Your paintings make people feel that it is "beyond words". They are full of poetry. Is this also a return to traditional oriental aesthetics?

Y: I was born in the China, and the nutrients of the East are in my bones. The poetic sense of "meaning beyond words" in my paintings is as natural as the yellow skin we were born with.