JuJu Sun我的博客

A writer should write with her eyes and a painter paint with her ears.
--Gertrude Stein

 

It was with great pleasure to visit Ms. Juju Sun's studio in Manhattan this past year. Rarely nowadays do the work spaces of artists merit any type of commentary but Ms. Sun's atelier reflected an experiential engagement with painting that is rarely witnessed any longer in the city.

Ms. Sun's vast space, brilliantly illuminated in a southwestern view of the city, lent an air of true painting elan to the spring afternoon since the paintings there were as exemplary as the light that bathed the space. It was here, in this studio, that I realized that a fearless painterliness and a meditation on communication itself was in concert with a deeply felt praxis of painting and being. Canvasses were hung on every wall and stacked in every conceivable way. There was no mistaking the prodigious output with anything less than a serious engagement with the art of painting. Isn't this what we ask of our painters?

When one encounters her work--large rhythmic abstractions redolent of landscapes of both the mind and nature which reflect a poetic sensibility-- one is reminded how difficult it is to achieve rhapsodic, ebullient gestures in an effortless way, yet that is exactly what these works accomplish. (I was impressed with the amount of maquettes and drawings on the southern end of the studio. This work was hard-earned.)

Many may look at the work and attribute its stature to a dependency on past abstractionists but this would be an error since the work is seductively contemporary while making just the right footnotes to past masters. What we really have is a seamless blend of the mind, landscape and musicality dancing across these generous canvasses. Isn't pleasure--true visceral pleasure--a value in short supply in most of today's work? Juju Sun's work embraces both the ephemeral nature of feeling and the legacy of landscape, abstraction and poetry. Simply put, her work dances in a frisson of color, poetic language, music and light.

Coincidentally, I was carrying a copy of Chinese poetry the day of my visit to her studio.

The lyrical and brilliant verses by the 11th century poet, Su Tung P'o, came to mind as I stood in front of her canvasses: “Sun warm on mulberry and hemp glints like water, wind over mugwort and moxa.”

In my opinion, Su Tung P'o, AKA, "Su Shi", is the master her works allude to most rather than some recent New York School artist.

What intrigued me most about these canvasses was the marriage of emotion and language--all language. I found myself asking the most foundational of questions during my visit: 'where does language really come from?' If one takes the necessary time to look--really look-- at her paintings you will also begin to see a type of script embedded within the abstraction (especially in the grass-like paintings.) I was reminded of ancient "hanzi" writing swirling amid the luscious ribbons of paint in her artworks. Has anyone ever attempted such a thing? The dissolved planar composition meeting the rhythmic gestural nuances elucidates both a grand historical vision of the rural past and language itself converging in the mind. It was a feast for the senses.

There is an ontological engagement with language as well as a sumptuous presentation of temporality in these works and for that reason we need to watch and follow Ms. Sun's career. It is our loss if we don't.

We are fortunate to view such an elegant and unexpected visual understanding in Ms. Juju Sun's canvasses.
 

--Matthew Swann

 July 14th 2012

 New York City Independent Art Reviews and Curating

 (Matthew Swann has been reviewing art since 1985.

 A native of Greenwich Village, he is based in Manhattan.)

 

孙钧钧的绘画:线条的激情与歌唱的眼睑 

夏可君

 

     晚期莫奈的睡莲与池塘,以其带有东方情调的朦胧诗意和笔触绵绵生长的气息,带给西方一种视觉上的新感受,与晚期透纳在光感中接纳气感一道,直到晚期汤伯利以其自然诗性的书写,充满爱欲的旋转大笔触打开了自然与生命之间丰富的关系,西方现代性的绘画一直试图找到一条重返自然的道路,从而避开了绘画终结的威胁,我相信,在美国生活很多年的女画家孙钧钧深深契悟了这个与自然息息相关的绘画谱系,并形成了自己的艺术语言。

孙钧钧最近的画作,几乎都是爬满绿草与藤蔓的“池塘”,也是开满花朵的花园,这既是向现代绘画的开创者莫奈致敬,也是让绘画返回她东方性的开端,但对于孙钧钧,池塘是一个生命生长的场域,是一个生命孕育的空间,一切都在那里发酵,发育与生长,一切都保持着生长,饱满丰盈,画种的每一笔触都洋溢着无限的生机,如同花草一般盛开。

画面上的线条变化多端,这是从甲骨文以及篆书,草书等等转换出来的线条,每一根线条都有着自己的方向与表情,恣意生长,它们有着自己的渴望,自己的呼吸节奏,自己的生命力,这是生命的形式,或长或短,或蜿蜒或平直,这些线条在保持亲近,但又彼此分离,那么绵延的张力,柔情万种,婀娜刚健,一个女画家能够把东方的线条以西方绘画的色彩关系,运用得如此老辣实为罕见。

线条以不同颜色,在层层套叠与穿插之中,打开着画面的层层空间,因为线条颜色不同,在精致的对比与色差处理中,让画面一层层的空间被打开,黄色与蓝色的彼此伴奏与牵缠,在密不透风之中,又有着迷人而通透的变化,在目不暇给之中带来一种迷宫一般的诱惑,似乎春天一直在来临,万物都在这里孕育,晕化,永不消失,这几乎是永恒的春天,不老的诗意。

这几乎不是在做画,而是画家把整个生命的激情都投注在绘画之中,把自己对世界与自然的爱全部灌注在每一笔触之中,没有这对绘画疯狂的爱不会有如此深情而饱满的线条,这线条构成的世界是一个爱的躯体,充满逸动与欢乐的节奏,这是线条在歌唱,在我们的凝视之中,这并非肉眼地看视,而是以眼睑来触摸,如同流水拂过肌肤,如同春风抚摸花朵,这是万物之歌唱的眼睑,是画面在诗意地吟咏。 

这些缠绕的线条,夺目,灿烂,有时激烈地歌唱,有时轻轻低吟,带来一种迷离的眩晕感,这池塘并非现实的环境,而是被幻化的自然,自然只有在幻化的变形之中,才显得如此生动。孙钧钧如何形成此视觉感受的?为何线条如此富有情韵与风姿?

画家其实并非直接在画藤蔓与绿草,而是巧妙地把水纹的波动之线与水面上藤蔓倒影在风中婆娑开来的姿态,重叠起来,这是中国古典诗词的现代转换,这是一个三维世界的摺叠:水纹的荡漾——藤蔓的漫延——倒影的婆娑,表面与深度,恬静与喧哗,三重的皱褶被画家巧妙地悬挂起来,打开了画面平面,一种深度让观看者沉迷其间,似乎渴望被那些线条缠绕进去,被水纹所淹没,与那些线条一道生长。能够把如此多重的线条转换为画面形式语言,体现出孙钧钧卓越的想象力与女性细腻的诗意感受,尽管画面的那种气势几乎看不出是一个女性画家所为。

整个画面还在孕育,还在生长,线条一直保持为波动起伏,充满细柔地变化,这是自然元素性生机的弥漫,水,风,气,都在吹动线条,涌现出生动的美感,甚至还有火,带来一种激烈的燃烧,那是画面斑斓的色彩所带来的,能够把色彩画得如此鲜亮而充满层次,在中国画家中实在少见。

这些线条有着某种抽象性,让人想到波洛克滴洒的满幅绘画,去往北美二十多年的画家,从1990年代系统学习抽象表现主义的绘画语言,以德库宁的方式建构画面,色块之间的凸凹触感以及彼此的叠加打开画面空间,随着后来更为自觉回到中国文化的书写性,色块被线条拉开,不同颜色的线条,尤其是鲜亮的线条,就是把女性的花腔高音与大地流水的吟唱结合起来,有着灿烂华丽的音色!这线条充满了磁性,形成了一个生命的巨大磁场。

尽管这之前的线条充满了波洛克的形式性,但随着孙钧钧更为自觉运用中国式线条,线条变得更为柔和,书法性用笔恣意多变,线条在流动的方向与张力上更为自然,宛若流水与藤蔓的自然生长,而且有着画面层次的丰富变化,因为融入水性的生命触感,画面更为灵动,这并非抽象画,而是以书写性带出的“写象”,与汤伯利的那种书写性有着内在呼应,但更为抒情与细腻,叠加的线条有着一种吟咏之气,在来回牵缠之间,线条就在歌唱,就在吟哦,这吟哦有着自身的复调与和声变化。

中国文化生命质地的美感离不开诗意地吟咏,这吟咏的诗性也许可以给中国当代绘画带来一种活力,因为生命能量的投注并非欲望的流露,乃是让自然来为,让自然的元素性得到充分展现,让绘画不仅仅是一种手艺,而是一种自然生长的感应,这是孙钧钧的绘画带给我们的诗意消息。


抽象的疏忽
(节选)


胡赳赳


   看孙钧钧的绘画,一方面我为她高兴,在抽象艺术的熟练程度上,她已经能自成一家了,带有明显的个人风格,也看得出来她的师承对她的影响,尤其是,西方艺术与艺术史对她的训练,发生了作用,也发展出了她的绘画——立足于人性的基石、着重表达心灵的暗语,将社会性、自然性、个人情感与他人景况的共鸣熔为一体。其色彩我称之为“惨烈的”(惨:挪用于重庆方言,程度副词,强烈之意)、其节奏我称之为“狂放的”(狂:挪用于北京方言,程度副词,非常之意)、其线条我称之为“巨美的”(巨:挪用于北京方言,程度副词,很是之意)。
   她对绘画的理解“只是绘画”也是我所赞赏的。这是一种修行的境界,这个境界本身就是愉悦的、就是目的。此外别无目的。