[线性的天籁，存在的境城]
Linear Sounds of Nature, Realm of Existence
作者：王恺 By: Wang Kai
“存在计划”开始于2014年，作品源于艺术家对自然的观察和对生命的感思。雪后独步，白雪覆盖在大地上，生命的迹象在雪原的飞白处显露。无数生命在这广博的大地上，在这无限的时间里，生生灭灭，生灭不息。它们渺小卑微，以不同的形态存在于不同的时间，留下存在着、存在过的痕迹，这些痕迹纵使干枯哪怕成灰，你都可以感受到那渺小而强大的生命张力。
“存在计划”是对生命存在意义的自我追问和视觉语言潜性转换呈现的探索。作品由具有汉字结构感书写感以及自然生态的关联感开始，自由笔墨和划痕流淌其间。在这一过程得到较为完整的视觉呈现之时，我开始在画面中随机施与无数重复的同向线条。曾经画面跳跃着的主形，渐渐消隐，而那些不起眼的负形，那些隐含的痕迹，便跃然眼前。
我不认为自己在做消解或者什么解构的工作，只是施线转换了视觉呈现，这反倒更贴近我对自然荣衰之迹的直感。那些有疏有密的同向线条，仿佛自然中的风，掠过天空、掠过地表，奏出神怡深沉的天籁之音，生命之音，时间之音。
单独而抽象的一根线，它不和任何发生作用，似乎贯穿着一个一维单向的世界。但这世界没有单独的存在，这线随着时间的行进，随时与其所对发生着关系。如海德格尔所说：时间是“此在”存在的境城。我画面中的线性，有时间性的表达，线在画面中的潜意识布局游走，起点和终点之间，正是存在着无数可能性，因为它们与所对随时发生着关系，这就是一个世界的建立，也正是我画面的建立。“向死存在”为这线条设立了起点与终点，如果把视野放到无穷之大，“生生不息”一词倒是甚为贴切与恢宏。我画线，却不为线而线，线是我的笔触，是风，是音，是时间，是生命，是存在。
存在计划的创作包含了绘画、装置、行为等，是一个不同方位立体的存在。就绘画而言，也经历了不同的面貌，如同旅途风光，这是一个时间的历程、心路的历程。结果是给别人的，过程才是属于自己。仿佛那野草在狂风中舞蹈，观者多是看到强劲的风相，而只有野草知道自己的艰辛与成长。不要企图模仿“上帝”，与自然相比，人的所做是多么渺小、卑微、狭隘、无知和因无知而生的狂妄自大。坚守自己野草般的灵魂，那里有情感，有思想，有与自然息息相关的脉搏！
“Existence Program” started in 2014, whose works originate from the artist’s observation on nature and contemplation on life. Solitary walk after snowfall, snow-capped earth, the signs of life are detected in the spots where snow melts. Numberless lives, on this expansive territory, within this infinite time, go on with the constant cycle of birth and death. They are insignificant, exist in varied forms at varied times, leaving traces that prove they are existing or they has been existing, which, even if shriveling into ashes, are able to let you feel the tension force behind life which is insignificant while powerful.
“Existence Program” is a self-query on the significance of the existence of life and an exploration toward interior conversion/representation of visual language. The work starts from the understanding on the structure and calligraphy of Chinese characters as well as the correlativity with the nature/ecology, free-style strokes/scratches flow amid it. At the time this process was fully visualized, I randomly executed numberless equi-directional replicate lines in the frame, accordingly the positive space, once leaping in the frame, was obliterated gradually, while the invisible negative space, the hidden trails, leaped to the fore.
Instead of dispelling or deconstructing something, I consider myself as only executing lines to converse the visual representation, which in turn get closer to my immediate response toward the traces of boom /bust in nature. Those sometimes dense, sometimes scattered lines in the same direction, like winds in the nature sweeping across sky and the surface of earth, orchestrate sounds of nature, sounds of life, sounds of time with holiness and profundity.
A singular and abstract line, without interaction with any, seems to run through a one-dimensional and one-directional world. However, there’s no isolated existence in this world. The line, as time proceeds, interacts with its opposite whenever the occasion comes. As Heidegger said, “Time is the realm where ‘Dasein’ exists”. The linearity in my frame contains expression of temporality. Lines flow in the subconscious layout in the frame, between starting points and finishing points rightly exist numberless possibilities, for they interact with the opposites whenever the occasion comes, which is rightly the establishment of a world, and also the establishment of my frame. “Being toward death” sets up a starting point as well as a finishing point for this line, if the horizon is magnified to infinity, the phrase “the circle of life” will be more appropriate and grander. I draw lines not for the sake of lines, lines are my strokes, are winds, are sounds, are time, are life, are existence.
The creation in Existence Program contains paintings, installations, performance art, is a stereoscopic existence that consists of varied dimensions. As far as paintings are concerned, they have also undergone varied faces, like the sceneries in a journey, which is a journey about time, a journey about mind. The result is left to others to evaluate while the process is internalized into one’s experience. Like the weeds which are dancing in gales, spectators mostly see the ferocity of the gales while only the weeds themselves are acquainted with their hardship and growth. Do not attempt to imitate God. Insignificance, humbleness, provinciality, ignorance and conceit as a result of the former, are the words to describe what human has done compared to nature. Hold your weeds-like soul fast, where there are affections, ideas, and pulses in close touch with nature！
May 11, 2019