关于我的中国花园

小的时候，当我躺在草丛里，仰望天空中缓缓移动的白云，或斜视着野草和草叶上忙碌的爬虫时，我就知道我和它们一样，活在这个大地上。也就是后来才知道的那句话，生如夏虫草芥。在大自然面前，我从来就知道生命的卑微。森林里长大的我，大自然给了我最初的“知觉”。恢弘的大自然是一个有机的整体，人类同大自然中其他草木、动物、山水、土地、空气，都存在于这个有机的整体之中。互相联系、互相作用、互相依存，共同成长，共同承受欢愉和痛苦，最终完成相互的转化。而人类的贪欲和掠夺使自己越来越远离这个有机的整体，如不重拾对自然的爱和给予，我们终将会在自然中无影无踪。应该象我们的先民一样把侍奉大自然放在首位，直达“天人合一”的境界，才能和其他草木、动物共生共存。才能找寻到我们的自然灵性。可这只是美好的愿望，我对我们的未来充满怀疑。

这个冬天（2010-2011）所做的丝网版画“中国花园”系列，是“欲望花园”系列的延续。之所以冠以“中国”，是因为我生长在中国这片我所热爱的土地上，她是我所能切身感知的“自然”。我的“花园”，是美丽外表下的变异的诡谧的花园，圆形的画幅暗示一种无限的繁衍和膨胀。风景已不是传统意义上的自然风光，虽然依然美丽，但诗意绚烂的外表难以消解本质的变异。在审美的诗意的画面背后隐藏着不安和忧虑。面对这样的风景和花园，审美是一种无奈。

（附）：

我近几年才开始接触学习制作丝网版画，在工作室置办了最简易原始的设备，通过书籍网络以及向做版画的朋友们请教学习。我无意成为一个版画家，版画对于我只是不同于油画的一种表达方式，恰好我也喜欢这种方式。版画语言更理性，更讲究制作和技术性，正好可以控制我油画创作中的感性宣泄的泛滥。之所以做版画，一是喜欢，二是想挖掘一下自己更多的可能性，也为油画创作寻找一种别样的可能，再者多一个内心的出口。

北水  2011.4.20

About My China Garden

When I was a child, while I was lying on the grass, watching the flowing clouds, and watching the weeds and insects were busy living their life, I realized we are the same in the world. There is a saying that means life is short and fragile. As a forest-born man, nature was my early impression of the world. Humans, plants, animals, mountains, water, land and air all belong to the natural world. We live and depend on each other, and share the same fate. However, human’s greed sets us apart from nature. It’s hard to imagine a healthy and harmonious future, if we don’t respect and cherish nature. We should learn from our ancestors and their wisdom--regarding nature as our God. That’s the only way to balance our life with the plants and animals. Then we find our soul closer to nature. This is only my beautiful wish. The future is uncertain.

Last winter (2010-2011), my new artwork Serigraph China Garden is a kind of extension of my last series of work Desire Garden. Why do I use the China Garden as the title of my work? Because i love the place I live in, it’s the nature I can feel deeply. My Garden seems beautiful and unnatural. The round shapes imply the endless reproduction and expansion. This new series is not the beauty of natural world. Uncertainty and concern is in the work. This situation is lacking of aesthetics. 

I just learnt the skill of making Serigraph from books, the internet and friends in recent years. I only had simple facilities in my studio. I don’t mean to be a professional Serigrapher. The point is I like this way of expression which is a little different from oil painting—it’s more rational and technical, just for avoiding too much emotions. Serigraph provides more possibilities to represent my inside thoughts and feelings.

Bei Shui  April, 20^th  2011