规矩
Rules

这次个展中作品的基本艺术语言是1997年我在韩国任教时创作的，也就是在这一年中，我逐渐削弱了对于自然事物的客观追述，转而借用线段与文字表达我的主观创作意图，文字和线段作为我的一个符号一直保留在我作品之中。力图在极少的表现自然事物的同时，寻求更多的思辨空间成为我的一种创作模式，这种创作模式持续了近二十年。

The basic artistic vocabulary began to evolve in 1997 when I was teaching in  South Korea.Since then I ,gradually weakening my objective rendering of natural things, have switched to the expression of mysubjective ideas using lines and texts which  remain as my conceptualsigns in my artwork as such. Attempting to absorb the simplist elements from natural things and seeking to carry more potentials for critical thinking have step by step become one of my creative styles, the evolution of which has lasted about 20 years.

每个人从自身艺术践行摸索创作的基本规律，到他者经验的消化归纳，在作品中能够创作出属于自己的语言符号是一件不容易的事情。艺术家的职责是创作独特的艺术语言，以便推进艺术的发展与演变。创造性是创作的兴奋点，开拓性是艺术家存在的价值所在。在今天信息化的时代我的创作符号没有被信息所溶解也是值得庆幸的。

It is absolutely no easy job to create one's own art signs by exploring basic law for creation in one's own art practice as well as absorbing and summing up the others' lessons.The artist's mission is to produce one's unique art languages to speed up the process of artistic evolution. Creativity ignites the artist's creative enthusiasm, and trailblazing is what their existence means. It is lucky that my creative signs have not gone into oblivion in the current age of information.

今年给武汉雕塑展选送的作品，复制了我1998年的作品《规定》（这件作品一直保留在青岛市雕塑馆）。在给作品写解释时我写道:“不规范中包含着规定的制约；规定中包含着不规范的宽容。

This year, my works for The Wuhan Sculpture Exhibition duplicate what I made in 1998  called 'Standard' (the first of this series is in the collection of the Qindao Sculpture Hall). My explanation of the work:'what's non-standard contains what's determined by standards; and what's standard does what's tolerant for the non-standard.

”由此可见作品其具有哲学思辨的内涵成为作品的精神内核，与雕塑的物质形态共同构成作品的基本表现语言。作品努力成就的是雕塑的物质形态与哲学思辩的交锋与凝练，从而促成真理的物质转变，也促成我作品的基本语言符号的延续和升华。

Therefore,  the implication for critical thinking in the philosophical terms is the spiritual core of the work, which works along with the physical form of sculpture to make up the basic deconstruction of the sculptural work.  The creative attempt makes it possible for sculptural form and critical thinking to conflict and crystalize so as to reach the level of the conceptual transference of the spirit and physical appearance.

《规定》系列作品基本上由两部分组成，完全感性不规矩的“无序”；完全理性的规矩。作品表达了“无规矩不成方圆”的精神内涵，“规定”规矩立定。规校正圆，圆为规；距校正方，方为距。

The series 'Standard'consists of two parts, the totaly irrational 'disorder' without any norms and the entirely rational standard. The work 'Nothing Can Be Accomplished Without Any Norms' implies that 'standards' are the set compass or carpenter's square.A circle can be drawn correctly with the compass; a square can be done so with the carpenter's square.

作品中的“规矩”给予观众理性的思维引导，随意的形通过线段和数字进行理性的规范，规范了不规范的非理性。使对于作品非理性的视觉感知在理性概念上的认知尺度扩大。为观众阐明，在感知的形体中包含着理性的思考；繁杂的事物中，包含着理性的规范。同时也反正了理性并非规范所有，自由的流动充满着我们的生活，无规矩不成方圆，方圆也不一定规矩。

The 'compass or carpenter's square' in the work stirs the viewer to think, and the casual forms allow for rational choice of standards through lines and numbers, defining the non-standard irrationality. In work, subjective yet irrational visual perception expands boundlessly the scope of the rational perception. They try to show that the objectively perceived forms contain rational thinking; the complicated carries the rational norms. Meanwhile, this also proves that therational can not be determined by standards, and free flow of the consciousness fills our life; circles or squares cannot be drawn without the compass orcarpenter's square, but what are drawn are not necessarily standard.

作品虽然明码标尺却边界模糊含混，也是规不圆距无方，两可之间规定也是不确定的，拿捏的尺度刻意界定着自由的规范。不知道是自由限定了规距还是规矩束缚了信马由缰。社会如此，人生如此，事物总是呈现了矛盾的两个方面。然而这种由形、线段、数字形成的视觉哲理，努力把观众引入一个对于作品的哲学思辨状态之中，这是我作品的目的所在。

Sizes clearly marked, the edges of the work are ambiguos, which  are non-standard, either;the either/or standard is indeterminate, and what is deliberately controlled is the free definition of  standards. Who knows that freedom limits the compass or vice versa.In life and society, thereare always two conflicting sides to everything.However, this visual philosophy formed by forms, lines, and numbers, through visual representation,  is intended to lead the viewer into the uniquely created space for contemplating in the terms of philosophical thinking, which is also the clear direction my work keeps going forward in.

视觉艺术作品依靠视觉效果满足人们的审美需求，作品的思想同样促成作品视觉美感的建立。创作与审美也如同哲学的思辨，均是从心出发的思想迫切，从无生有，从枝节探索根基，从混乱整理有序，从繁文缛节至言简意赅，必要有从现象探索真理的执着顽强方能有所成就。作品从物质脱胎到精神换骨，再由精神出发转换物质属性，都是思辨与物质的相互转变换，艺术家所做的也就是把看不见的思想实实在在的用物质展现而已。

Visual art satisfies the people's esthetic needs by way of visual effects, and what the artist tries their best to achieve is to physically express what could not be seen in an honest way; and the ideas also help for the establishment of visual esthetics in the work. Creation and esthetics, like philosophical thinking,originate from the inner demand for thinking, from nothing, from theexploration of roots by way of branches, from putting the chaotic into order,from reducing the complicated into the simplest, which could not be accomplished unless you would persevere to explore truth from phenomena.Changes in physial form results in the ones of spirit, and further transformation of spirit brings about the one of physical quality. The mutual conflict and improvement of spirit and physical image stimulates the artist's enthusiasm for discovering their ideal kingdom.

（鸣谢辽宁大学哲学系教授陶银骠先生、艺术评论家李世念女士）
（My thanks go to Mr. TaoYinbiao, professor from the department of philosophy, Liaoning University, Ms.Li Shinian, art critic）