重塑山水｜Sven Drühl / 四六文摘

WEIBO：森雅艺术馆

喜马拉雅：森雅艺术馆

绿洲：森雅艺术馆

INSTAGRAM：senya_gallery

www.triceratops-design.com

Sven Drühl investigates and re-elaborates Modern and Contemporary Art History’s landscapes and architectural designs. In his paintings and in the works with neon lights he alludes to already existing artworks by other artists such as Caspar David Friedrich, Ferdinand Hodler or by fellow contemporary artists.

He works on the landscape in a nonconventional way, employing silicone and latex in addition to traditional materials, giving three-dimensionality to the canvas. During the last decade he intensely worked following the Japanese New Print Movement, known as Shin Hanga, which originated during the 1910s in Japan. In this last series of works he undertakes a new artistic method inspired by virtuality and videogames textures, reproducing landscapes which look like they are entirely real.

As it happens with textures in computer graphics, in his artworks the artist follows a mathematical structure; the composition is well organized and the pattern repetition is cyclic. The canvas follow a clear strictness and his technique creates more detailed and realistic landscapes by working on lines and shading. The expression and the signs of the lines make sense when hit by light because they come alive and the individual details, from simple quotes, produce new landscapes.

Sven Drühl以一种非传统的方式在景观上工作，除传统材料外还使用有机硅和乳胶，为画布赋予了三维效果。就像计算机图形中的纹理一样，艺术家在他的作品中遵循严谨的数学结构。构图井井有条，图案重复是周期性的。画布遵循严格的要求，他通过处理线条和阴影的技术来创建更丰富和逼真的风景。线条和符号在被光线照射时显得独具意义，因为它们生动活泼，而单个细节（用简单的引号引起）就产生了新的风景。在这最后一系列作品中，他采用了一种新的艺术方法，灵感来自虚拟想象和视频游戏的纹理，再现了看起来完全真实的风景。

正如山水画的历史所表明的那样，图像不是外部世界的简单复制品，而是个人内部或艺术内在世界的独特构造。正是在这个创造过程中，Sven Drühl将这一理念渗透到了他的风景图像中，用它来构想自己的绘画精神世界。他创造了独立的美学对象，但并不否定其起源和结构。他画作的起点是已经存在的艺术品。此类图像的组成部分采用特写方法与作品隔离开来，由艺术家转换为新绘画，其线条由硅树脂制成，并具有二维的漆，油和稀释剂区域。通过这种方式，它们成为新的自主图像对象。通常，这些成分会与其他绘画的细节结合在一起。因此，卡斯珀·戴维·弗里德里希的画因为线性而被采用，或者在Sven Drühl的作品中与Ferdinand Hodler或Eberhard Havekost等绘画作品中的某些元素混合并重新组合，从而生成一个全新的图像。Drühl在选择这些“原始图像”时，无法辨别出任何风格或时代偏爱。范围从浪漫时期的山水画到象征主义的图像再到他自己同时代的绘画作品。如果有人希望在此处指出一个共同的因素，那么在一种看似西欧的绘画语言下，可以从最广泛的意义上找到它。但随着Shin-Hanga（日本新版画运动）的作品被收录在他的引文中，他的灵感也来源于亚洲的山水画历史。