冯一尘自述
文 | 冯一尘
墨这一元素主要是为了对应我作品里无意识这一概念,利用极少主义的手法，来呈现无意识的部分，强调其客观性。所呈现的无意识更接近极少主义所声称的“物”的概念。这里的“物”是他们主观的人造物，而不是来自自然的自在物。但在此类人造物里，也看不到主体的痕迹，因为他们大多是直线的、几何的，也就是“科学化”的。“科学化”的目的是要强化“物”的客观性。艺术作品中物的客观性越强，艺术家主体的在场身份就越弱，甚至完全处于“失语”状态。而整个滴墨的过程中，只有墨在水中散开这一个环节是属于失控的无意识状态，这种无意识具有很强的“在场性”和“即时行”。而整个过程实际上仍然属于有意识的行为。仍然有人为的介入。只有最后的结果，即所拍摄的图片，它是通过“瞬间性”来再现“在场性”的无意识存在。其次，在强烈的主观意识的对比下，其抽象性和无序性的呈现恰给人一种“科学化”和“客观性”的假象。从而体现出其无意识本质的客观性。 The element of ink is mainly meant to cope with the concept of unconsciousness in my work. I’ve been making use of the manner of minimalism to present the part of unconsciousness and emphasize its objectivity. The presented unconsciousness approaches the so-called concept of “material” of minimalism. The “material” here is a subjective “artifacts”, but not the natural “thing-in-itself”. However, in this kind of artifact, we cannot see the trace of subjects, because most of them are linear and geometrical, i.e. “scientific”. The objective of “scientization” is to strengthen the objectivity of “material”. If a material in an artistic work tends to have stronger objectivity, the on-site status of the artistic subjectivity would grow weaker, or at a status of “aphasias”. In the whole process of dropping the ink, only the part that the ink is dispersed in the water is at the unconsciousness of losing control. This unconsciousness features apparent “Anwesenheit” and “immediacy”. However, the whole process, as a matter of fact, still belongs to conscious behaviors. There are still human interventions. There are only the final outcomes, i.e. the photos try to represent the unconsciousness of “Anwesenheit” through “instantaneity”. Secondly, in response to the contrast of strong subjective consciousness, the abstract and disorderly presentation gives people a pseudo phenomenon of “scientization” and “objectivity”, in order to embody the objectivity of the essence of unconsciousness