傅榆翔 1963 生于重慶
重慶美術(shù)家協(xié)會(huì)會(huì)員
個(gè)展：
2008 “天空沒有回音” 重慶川美坦克庫感覺藝術(shù)空間
群展：
2008 中國2007當(dāng)代藝術(shù)文獻(xiàn)展 北京墻美術(shù)館 雍和美術(shù)館
2007 巴黎首都藝術(shù)沙龍年展 法國巴黎大皇宮
     第33屆日本AJAC藝術(shù)年展 日本東京都美術(shù)館
     501藝術(shù)基地開幕展 重慶501當(dāng)代美術(shù)館
     上海春季藝術(shù)沙龍展 上海世貿(mào)商城
     上海五角場(chǎng)畫廊開幕展 名流收藏俱樂部
2006 北京第十三屆藝術(shù)博覽會(huì) 北京國展中心
     美國紐約國際藝術(shù)授權(quán)博覽會(huì) 美國紐約
2005 北京國際藝術(shù)博覽會(huì) 北京會(huì)展中心
2004 北京國際藝術(shù)博覽會(huì) 北京世紀(jì)壇
     上海春季藝術(shù)沙龍 上海世貿(mào)商城
2003 上海藝術(shù)博覽會(huì) 上海世貿(mào)商城
1889 首屆中國優(yōu)秀油畫作品展 北京日本


Fu Yuxiang 1963 Born in Chongqing
Member of the Chongqing Artists’ Association

Solo Exhibition
2008 [No answer from the sky] Sensation Art Space?Tank Loft Chongqing      Contemporary Art Center

Group Exhibition
2008 Exhibition of Research Literature and Works of China contemporary art 2007      Wall Art Museum, Yonghe Museum ,Beijing
2007 The Annual Exhibition of Paris Capital Art Salon Big Imperial Palace, Paris
     French
The 33rd session of Annual Exhibition of Japan AJAC Art Du Art Museum, Tokyo      Japan
      Openning Exhibition of 501 Art base 501Contemporery Art Museum, Chongqing
      Exhibition of Shanghai Spring Art Salon Shanghai World Trade Centre
      Openning Exhibition of Wu Jiao Chang Art Space, Shanghai Celebrity
      Collection Club, Shanghai
2006 The 13th session of Beijing International Art Exposition China World Trade      Center, Beijing
     New York International Art Authorization Exposition, America New York,      America
2005 Beijing International Art Exposition Beijing International Convention &      Exhibition Center
2004 Beijing International Art Exposition China Millennium Monument, Beijing
     Exhibition of Shanghai Spring Art Salon Shanghai World Trade Centre
2003 Shanghai International Art Exposition Shanghai World Trade Centre
1889 The 1st session of China Excellence Oil Painting Exhibition Beijing and      Japan

作品評(píng)論
Praise for Fu Yuxiang’s Paintings

王林
作為一位執(zhí)著的藝術(shù)家，傅榆翔喜歡帶有夢(mèng)魘感覺的圖象，我比較喜歡的作品是他的《樹妖》系列。在這些作品中，他找到了一種有意味的形式，把樹枝、樹根的造型和人體特別是女人體結(jié)合起來，讓人覺得新鮮而富有詩意。這些圖象的來源和重慶的黃桷樹多少有些關(guān)系。黃桷樹作為重慶的市樹，在巖壁暴露根系、盤根錯(cuò)節(jié)、枝繁葉茂，有非同尋常形態(tài)特征。傅榆翔利用有機(jī)體的相似性，創(chuàng)造出自己的繪畫形式，可見畫家平時(shí)用心良苦。
前言·于川美桃花山2004年5月15日

As a dedicated artist, Fu Yuxiang tends to produce those images that arouse a nightmare-like sensation, among which I personally like his Wood Sprite series. He has been able to find a form of meaning among his works by refreshingly and poetically combining the shapes of tree branches and roots with the form of female bodies. The source of these images more or less has a bearing with Ficus virens in Chongqing, which as the city tree of the municipality usually exposes its complicatedly twisted roots with intercrossing branches on the verge of cliffs, thus creating unusual morphological features. Having perceived the similarity of organisms, Fu Yuxiang successfully originated his own form of painting, which also reveals the artist’s commitment to his artistic creation.
From Wang Lin’s Preface,
written at Taohua Hill, Sichuan Academy of Fine Arts,
on May 15th, 2004

葉永青

With a vast expanse of boundless infinity, Fu Yuxiang’s paintings reveal a quiet stillness of the creatures in their own proper place, reflecting an aspiration and pursuit of ultimate freedom. The artist with his works of art shows his “pity” on the world of mortals and places the value of life above that of the art. In another word, the artistic value is embodied by the delivery of artist’s attitude towards life and his expectation on the world of mortals, namely, the concept that humans are elegantly free and life is untrammeled. But in between there is still presence of palpable feelings of resignation and sorrow resulted from anxieties and worries. However, such contradictory factors have now melted into “poetic melancholy” hidden an artistic style of lyric romance.
From Ye Yongqing’s Poetic Melancholy,
written on Peach Blossom Mountain,

李小山
同時(shí)我覺得，傅榆翔在安排階段性任務(wù)時(shí)體現(xiàn)出來的總體觀顯得相當(dāng)成熟，這種成熟表現(xiàn)在腳踏實(shí)地的自我超越上，在這一過程中，沒有所謂的進(jìn)步和退步，它只是有意識(shí)并且有見識(shí)地推動(dòng)每一次超越。或許，傅榆翔還有更大程度的空間，那樣的話，他每一個(gè)階段的成果都是有力的見證。
傅榆翔曾使了很大的勁研究造型、色彩、用筆、肌理，做的工作已足夠了，從他的畫作里我們清晰地發(fā)覺了他這方面的全部優(yōu)點(diǎn)，豐富性和復(fù)雜性只在某種階段具有魄力，而尋找純粹的形式和表達(dá)，則是衡量傅榆翔下一步創(chuàng)作尺度，缺少這個(gè)，它的工作似乎才完成了一半，所以我說，他應(yīng)該建一座自己的橋，渡過去，完成全部過程。
建一座自己的橋·2004年9月3日于南京

Meanwhile, as I see it, Fu Yuxiang has demonstrated a mature capability of making an overall planning for periodic tasks. This type of maturity is manifested in a down-to-earth self-transcendence, during which process there is no such thing as so-called progress or retrogression but only a transcendence motivated by a well-informed self-consciousness. Perhaps there’s even more space for Fu Yuxiang’s artistic creation and in that case it will be witnessed by success of each stage.
Fu Yuxiang once made enhanced efforts and contributed sufficient work to the study of modeling, coloring, brushing and texture. From his works we can find a clear clue to all his strong points in this field. As richness and complexity are expression of vigorousness only at certain stage, the search of pure form and expression shall be regarded as the measurement of Fu Yuxiang’s creation at next stage. With this being absent, his work only seems half-done. Therefore, my comment would be he builds a bridge of his own and then cross over to complete the whole process.

From Li Xiaoshan’s Building A Bridge of His Own,
written in Nanjing,
on September 3rd, 2004

丁方
傅榆翔的畫帶有一種鮮明的文化地理的烙印，顯示了深闊的川蜀大地和蒼茫的群山對(duì)他心靈的影響；那些具有自然曠野氣息的元素彌漫在它的畫中，并構(gòu)成了傅榆翔的畫面的基本調(diào)性。實(shí)際上，描繪表現(xiàn)自然大地的畫家大有人在，但傅榆翔的畫面仍然令我驚異；因?yàn)樗鼘?duì)蘊(yùn)藏樹木自然中的原始生命力感受是如此強(qiáng)烈，對(duì)彌漫在大地山川中的詩意之體悟是如此濃郁，使我聞到了一種久違的氣息。
甘愿沉潛·2005年5月于北京

With a strong, vivid stamp of cultural geogrophy, Fu Yuxiang’s paintings demonstrate an influence of the vast land and rolling mountains in Sichuan on his soul; those elements with a natural touch of open fields present all over his works have constituted the basic tone of Fu Yuxiang’s own style. In fact, there’s a wide variety of painters who focus on the depiction of the great nature but the images created by Fu Yuxiang still come as a surprise to me because his feeling about life in its most primitive vitality contained in those trees and the nature is so intense and his perception of the poetic essence permeating through the vast expense of land and mountains is so overwhelming that I can even smell a long-lost connection.
From Ding Fang’s Chosen Quietness,
written in Beijing,
in May, 2005

宋智林
《樹妖》泛化地表現(xiàn)出人的一種生存狀態(tài)，是實(shí)體生命與虛象運(yùn)勢(shì)的表述，但更準(zhǔn)確地說，它是“喜純、誠摯與自由”的傳達(dá)。如若真實(shí)地達(dá)到這個(gè)狀態(tài)，人就必須按照“生命的本來面目”去生活。在禪宗解釋中“生命的本來面目”指一種不經(jīng)意識(shí)浸染的，與無意識(shí)宇宙相通的狀態(tài)。也許，這正是傅榆翔先生欲借《樹妖》給人的一種深刻的思想啟示。

人文之元，肇自太極·2003年于北京

Wood Sprite expresses in general a state of existence for human beings and represents a combination of physical life and a virtual luck tendency. But more precisely, it conveys the concept of “purity, sincerity and freedom”. To truthfully reach this status, mankind will have to live as “the way it is”. According to the interpretation of Zen Buddhism, “the way it is” refers to a state in connection with the cosmos of unconsciousness, which is not interfered by the consciousness. This is perhaps the profound enlightenment that Mr. Fu Yuxiang wants to pass on to the viewers by his works of Wood Sprite.
From Song Zhilin’s Humanity Begins with Taiji,
written in Beijing,
in 2003

瑪格莉娜（意大利）
傅榆翔先生的杰作緣于觀察、理解和融入自然和社會(huì)氛圍，他見證了新藝術(shù)感性的發(fā)展。感謝人類的共同語言：藝術(shù)，傅榆翔先生，調(diào)和了不同文明的沖突，并成功的進(jìn)行了不同文化價(jià)值的對(duì)話。
傅先生，一陣來自中國的藝術(shù)清風(fēng)
依存身心的清風(fēng)·2004年5月13日于云南

The master pieces of Mr. Fu Yuxiang, a witness of the perceptible development of new art, are based on a shrewd observation, profound perception and a natural incorporation into the nature and social atmosphere. Thanks to art, the common language of mankind, Mr. Fu Yuxiang has brought different cultural conflicts into harmony and successfully conducted dialogues between different cultural values.
Mr. Fu, a breath of fresh air from Chinese art.
From Margarita(Italy)’s A Breath of Fresh Air from Mind and Soul
written in Yunnan

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把地上的問題寫在天上
——傅榆翔作品展序
王 林

中國人承天人合一的傳統(tǒng)，從古至今，就有世事不平、仰天長嘯的習(xí)慣。屈原《天問》中的許多問題，其實(shí)都是人間而不是天庭的事兒。傅榆翔姓名中帶個(gè)“翔”字，大約也是父母讓他向往天空的意思。
讀了老傅近期的一批作品，感到我們的確生活在既定知識(shí)型構(gòu)和文化心理之中，藝術(shù)意義的發(fā)生恐怕也只能浸漬其內(nèi)并超乎其外，而內(nèi)外連接的焦點(diǎn)，我以為，乃是當(dāng)代藝術(shù)中的問題意識(shí)。
傅榆翔有感于人對(duì)自然的侵犯、人對(duì)動(dòng)物的傷害和天人關(guān)系中人的問題，畫了一大批主要是動(dòng)物形象的作品。除個(gè)別作品中我們可以見到剝光、剖開的禽鳥外，他并不刻意去渲染虐殺動(dòng)物的血腥。相反，筆下的動(dòng)物和人物往往有著同樣的地位：長著天使的翅膀，穿著宇航服踩著跟斗云等等。無論是驚悚、扭曲的動(dòng)態(tài)，還是安詳、愉快的表情，傅榆翔幾乎都在細(xì)節(jié)上作了特殊處理，或者是人禽之間的想像組合，或者是不同動(dòng)物的異常交配，或者是飛行器、潛水器和對(duì)象的沖突對(duì)立。看得出來，畫家想增加畫面內(nèi)容的可讀性，為觀者提供一個(gè)入口，由此進(jìn)入對(duì)畫面本身的體會(huì)。
傅榆翔以單色的黑白漸變作為主要繪畫語言，較之過去的作品更純粹也更到位。其暈染皴擦的模糊感，為畫面帶來了協(xié)調(diào)、統(tǒng)一而又與眾不同的韻味，可以說是水墨浸潤效果的異質(zhì)運(yùn)用。這種材料轉(zhuǎn)換給觀者帶來“出位之思”的視覺感受，是令人陌生而驚奇的。在濃淡深淺、斑駁含混的變化之中，傅榆翔取得了繪制過程的某種自由，畫面的形成因自然而流暢，因自如而生動(dòng)，不再僅僅是題材聯(lián)想與意構(gòu)組合的結(jié)果。或者說，傅榆翔在經(jīng)歷多年探索、磨礪之后，已育成個(gè)人繪畫語言的生長性。這對(duì)于任何一個(gè)畫家來說，都是困難重重而又難以捉摸的。
在今天，人和自然的關(guān)系的確令人疑慮。宇宙探索也好，基因轉(zhuǎn)移也好，我們都不知道會(huì)造成怎樣的后果。也許我們可以象綠黨那樣付諸行動(dòng)，外肆于社會(huì)，但也可能象老傅這樣充滿感傷，縈繞于心靈。這種情感傾向通過繪制的言說彌漫整個(gè)畫面，既是觀念也是形式，既是當(dāng)下的也是異在的。在當(dāng)代繪畫中，現(xiàn)實(shí)主義描繪之所以難有作為，原因是從題材到意義的通道，已被過去時(shí)的慣性意識(shí)形態(tài)所填塞。藝術(shù)必須以異質(zhì)、異樣和對(duì)異化再異化的方式才能除蒙去蔽，真正在場(chǎng)，才能進(jìn)入現(xiàn)在時(shí)態(tài)的文化語境。所以繪畫依然不僅是畫什么而且是怎么畫的問題。對(duì)老傅而言，把地上的問題寫在天上，是一個(gè)很好的開端。不管天空有無回聲，人在大地上肯定會(huì)有所反應(yīng)。這種反應(yīng)異在于既定知識(shí)型構(gòu)和文化心理，啟發(fā)人的主動(dòng)性精神，使之在藝術(shù)對(duì)現(xiàn)實(shí)的挑釁、挑逗和挑戰(zhàn)中有所省悟、有所推進(jìn)、有所更新。
有感于老傅之新作，寫了如上的話。
是為序。

2008年2月24日
四川美院桃花山側(cè)

Write the issue on ground in the sky
——Preface for exhibition by Fu Yuxiang
Wang Lin

The Chinese receives the tradition of harmony between man and nature; throughout history they have the habit of “the world is uneven and howl to heaven”. “Ask the heaven”—a literature by Qu Yuan, many questions in it are actually human thing rather than Heaven. There is a character “Xiang” which means “fly” in his name Fu Yuxiang, probably is also the meaning that his parents let him yearn for the sky.

After reading a recent batch of Lao Fu’s works, I feel we are indeed living in an established knowledge construction and the cultural psychology, the significance of art can only occur within and beyond it, and the focus of internal and external connections, I think, is the question awareness of contemporary art.

Responding to the infringe that man to nature, the harm that man to the animals and the man problem in the relation between man and heaven, Fu Yuxiang has drawn a large number of works that of the main image are animals. Besides the individual work in which we can see stripped, ripped birds, he did not deliberately exaggerate to the bloody animal mutilations. On the contrary, the writing animals and people often have the same status: with wings of angel, wearing spacesuits walking on tumble cloud and so on. Regardless horror twisted dynamic, or quiet pleasant expression, Fu Yu Xiang made special treatment in almost all the details, imagine combination between people and birds, or abnormal mating between different animals, or confrontation and conflict between aircraft diving instrument and objects. It could be seen that the artist wants to increase the readability of the picture contents, provide an entrance for audience, which entered the experience of the picture its own.

Fu Yuxiang takes the major drawing language by the gradual change of monochrome black-and-white; these works are more pure and in place compared with his past works. Its fuzzy sense of wiping smudging or bleeding brought the coordination harmonization and distinctive flavor for the picture, it can be said that it is the heterogeneity use for the effect of ink infiltration. This material conversion brought audience a visual experience of "out-of thinking", it is strange and surprising. During in the shade depth mottled ambiguous changes, Fu Yuxiang obtained a certain freedom during the process of drawing, the picture is smooth and vivid because it is natural and free, it is no longer merely the results of subject association and impression combination. Or, after many years of research and experience, Fu Yu Xiang has bred his personal growth of painting language. To any one of artists this is difficult and elusive.

Today, the relationship between human and nature is indeed our doubts. Explore the universe or gene transfer, we do not know what the consequences will result. Maybe we can put into action as the Green Party did, outside society, but we may also be such as Lao Fu be sentimental, lingering in mind. Such emotional tendencies, through the rendering of drawing, diffuse the whole picture, it is not only the concept but also the form, not only present but also different. In contemporary painting area, the reason that realist art is difficult to have the achievement is that, the access from subject to the significance has been walled up by the past inertia ideologies. Art must be different, strange and further alienation to alienation, only in this way can it be kept apart from the dark, really be at presence, and enter the cultural context of present tense. So painting is not only the problem what to paint in picture but how to paint it. To Lao Fu, write the issue on ground in the sky, is a good start. No matter whether there is answer from the sky or not, people on earth would certainly have the response. This response is different from the established knowledge construction and the cultural psychology, and enlightens the initiative spirit; in the provocation, provocative and challenges between art and reality, it makes them be aware, in advance and to update.

Responding to recent works of Lao Fu, I wrote the words above as the preface.

February 24, 2008
Sichuan Fine Arts Institute Peach blossom hillside

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自述

重新激活天地之靈

多年前的一個(gè)傍晚,我經(jīng)過朝天門碼頭，一家餐館門前拴著一只待殺的羊,當(dāng)我經(jīng)過它的面前的時(shí)候,便發(fā)出格外凄慘,哀絕的叫聲,似乎是叫我救它,當(dāng)時(shí)我動(dòng)了買下它放生的念頭,但現(xiàn)實(shí)是：在這水泥森林的都市里又能將它放去那里?走過那家餐館一百米外仍能聽見聲聲哀鳴,那是震顫我心靈很猛的偶遇。至今仍索繞于心不能忘懷。
時(shí)常有白日夢(mèng)的幻覺，看到動(dòng)物是人，人又成了動(dòng)物，天空變成土地，水又成了蘑菇云,一切物象與時(shí)空終究成了夢(mèng)幻泡影。弗洛伊德說：“夢(mèng)，不僅僅是對(duì)現(xiàn)實(shí)生命的折射，同時(shí)也是對(duì)未來生活的精準(zhǔn)預(yù)言�！苯鼇碛�國科學(xué)家協(xié)會(huì)聯(lián)名上書英國議會(huì)，提請(qǐng)為二0五0年人類與機(jī)器人通婚立法。DNA生命破譯，老鼠，猴子等動(dòng)物的基因與人類相差不過百分之零點(diǎn)幾，我們可以克隆一只羊，一頭豬，在實(shí)驗(yàn)室解剖、化驗(yàn)所有的有機(jī)生命，但我們卻不能創(chuàng)造生命，或許人類能從遙遠(yuǎn)而偶然的一縷毛發(fā)中再生絕滅的恐龍，其實(shí)恐龍并沒有滅絕，物競(jìng)天擇早已將它進(jìn)化成為帶翅膀的鳥，并一直伴隨生活在我們身旁。
其實(shí)，生命總是在失根中飄移，全球性移動(dòng)和人類與動(dòng)物的游居已是現(xiàn)實(shí)的必然。雖然我們永遠(yuǎn)不能把觀念和設(shè)想預(yù)植于藝術(shù)創(chuàng)作中，但不由自主地在創(chuàng)作中激活了諸多那些沉淀和過濾的感慨，《天空沒有回音》，《游山玩水》，《回聲》等系列創(chuàng)作以馬、鴨子、羊、豬、船、潛水者、宇航服、云、水、霧、不確定的土地等視覺元素來塑造、呈現(xiàn),在畫面的架構(gòu)中更多傾向黑白寫實(shí)性語言方式的再展開。在營造相對(duì)真實(shí)的感覺中,有些瑣碎局部細(xì)節(jié)的刻畫是想讓觀者有所觸動(dòng),甚至驚悚,在視覺上造成突兀,詫異的張力,以此引起內(nèi)心的顫栗,平和或緊張的情緒。
天空是所有生命的布景，大地是所有生命回歸的終點(diǎn)。因此在這系列作品中一方面呈現(xiàn)出象征與隱喻性，另一方面也試圖消解油畫與水墨的油水不相溶。當(dāng)完成這組超現(xiàn)實(shí)的系列作品時(shí)，其實(shí)人與作品亦被現(xiàn)代敘事精神所激活。藝術(shù)家精神在場(chǎng)的根本處境，絕不是簡單地復(fù)制世界的外在面貌，而是有效地參與到精神世界的建構(gòu)之中，并發(fā)現(xiàn)它的內(nèi)在秘密。
正是這一刻,我驟然看到,在已經(jīng)被發(fā)現(xiàn)的秘密之中,人類精神面孔上焦慮的皺紋正在瘋狂蔓延。

傅榆翔
2008．2．28

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