对话何汶玦（上）：与陶瓷的“偶然”相遇……

Artist's studio © He Wenjue

采访者：所以《365 天》是您第一个用陶瓷创作的作品吗？

So "365 Days" was your first work made of ceramic, right?

何汶玦：对，是我第一个用陶瓷创作的想法。我创作这个作品过程可以算是文思泉涌，而且做了好几年，因为365天就是365个画面，每天都不一样。

Yes, it is my first idea for a creation in ceramic. My creative process is like a thread of ideas coming out like water from a spring. I have been working on it for several years: because “365 days” can be depicted as 365 images, every day is different.

采访者：能简单介绍一下这个作品吗？

Could you talk about this work?

何汶玦：这是一个关于欲望的作品，将每一天比喻成欲望的各种动作的形式。

This work is about lust: every day metaphorically becomes the expression of different forms of lust.

Part.2

死亡裂痕 Death Cracks, 2016

瓷 Porcelain,

34 × 20 × 8 cm × 11pcs

我在当地找到了一些酒，酒瓶上的每一个图腾都不一样，我想这应该是巴厘岛这里特有的图腾和文化，于是我就把这些酒瓶直接压在瓷泥模上，把这个做成画板，看上去很古朴，很有韵味，很有意思。酒瓶代表了人对酒精的痴迷，宗教图腾的诉求则是永恒，它建构出一个新的生死观，告诉人们死亡并不是生命的终结。

I found some bottles of local spirits with different iconographies and totems typical of Balinese local culture, so I pressed these bottles directly on the porcelain clay mold turning them into drawing boards: they looked simple but also charming and interesting. The bottle represents people's obsession with alcohol, and the appeal of religious totems represents eternity. It suggests a new conception of life and death, prompting people to think about the fact that death is not the end of life.

Artist © He Wenjue

采访者：这些图腾是酒瓶上的装饰吗？

These totems were decorations over the bottles, is this correct?

何汶玦：是的。

Yes.

采访者：在您的作品中有大量关于死亡主题的创作，请问您是基于怎样的思考呢？

In many of your works, death is a recurrent theme, could you talk about this?

何汶玦：我觉得死亡是每个人都要面对的，而且它很美，它是一个重生。是一个循环，是自然界的一个循环。

We are all meant to face death, it can be fascinating and it can represent a sort of rebirth. It reflects the cyclical character of the natural world.

采访者：您是从什么时候开始对这个死亡这个主题感兴趣的？有没有什么契机？

When did you first become interested in the theme of death? Was there a specific moment?

何汶玦：我也忘了，从小画画就会接触到骷髅元素，就会想这些东西，联想到死亡。我觉得是自然而然的。

I even forgot about it: since I was very young, I used to draw skulls, naturally thinking about death.

采访者：《涅槃》这个系列的作品，是一个巨大的器皿中放了一些人的骸骨，还有一些鲜花。请问创作它的初衷是什么？

In the series "Nirvana", a huge vessel contains some human bones and some flowers. What was the original intention behind its creation?

何汶玦：我其实觉得它是一种重生，是在极乐世界中的一种美好。这些元素都有一种隐喻性的东西在里面。

I think that it is a form of rebirth, a beautiful condition in the paradise. These are all metaphorical elements.

湖南省油画学会副主席，中国美术家协会会员，中国油画家学会会员。何汶玦的艺术与当下时代风潮紧密结合，却弥漫着一股个性的特征。他的创作以一种艺术贴近世俗生活的姿态，却总能将我们从所能看见和认可到的世界，引领到了一个掩藏的不可预知的广袤空间。他的作品在中国以及印度尼西亚、西班牙、意大利、韩国、德国、比利时、奥地利、马来西亚、美国、瑞士、法国和英国等国家的许多机构展出。作品公共收藏于中国以及比利时、印度尼西亚、瑞士、西班牙等多家重要美术馆。

He is currently the vice president of Hunan Oil Painting Society, a member of China Artists Association and a member of China Oil Painting Society. He Wenjue’s art, while reflecting contemporary society, is also characterized by a unique and personal style. His creations bring art close to life, while guiding the viewers from a familiar and recognizable dimension to a hidden and unpredictable vast space. His works have been displayed in many institutions both in China and in other countries including  Indonesia, Spain, Italy, South Korea, Germany, Belgium, Austria, Malasia, US, Switzerland, France and UK. His works are collected by Museums in China and abroad including Belgium, Indonesia, Switzerland, Spain, etc.