内容提要
序
Foreword
欲知光明来何处
Where the light comes from
南浦云 By Nanpu Yun
电光石火，横空出世，这是巨燕的作品给许多人的感受。迥乎常人的题材，卓尔不群的具象，不同流俗的张扬，凌空而去的欲念，随着那些或直或斜、蛛缠网绕的线条，斑驳陆离、浓淡不一的色彩，看似简单、实则繁复的画面，在一个个逼仄的空间里跳出来，抓住你的眼球，抑住你的心跳，把你带入一种迥乎以往的视觉体验中，启人深思，撩人遐想。
在城市中，电线杆无处不在。每一段街头路角，每一个犄角旮旯，它都矗立在那里，栉雨沐风，默然无语，而它承载的电线，或明或暗，千头万绪，潜入每一个公共场所和家庭，输送能源，点亮夜色，伴随每个人的生活。那些繁杂的电线，暗喻着纷繁复杂的现代社会关系，有直有曲，似隐似现，简单如直线，复杂如蛛网。有什么比这更能深刻而绵密地阐述现代社会中人与组织、人与人的关联度？变压器和分电箱无声地组织、架构、支配着电线和电流。这些不动声色、不怒而威的物件承载着“组织”的权威。来电还是断电，光明抑或黑暗，关键在它们，它们主宰一切。电线杆原本是直的，可在画家眼里，它经常被斜立着，除了画面经营布局和审美考量外，其中分明有作者执意表达的某种蕴涵，它带来的那种压迫感，倾而不倒，人们不难从中悟出点什么来。正与斜，曲与直，黑与白，美与丑，善与美，昼与夜，有时是颠倒的、错位的，相信诸君自有体会。人类社会的悄然演进，自然界的荣枯代谢，个人命运的福祸无常，都是悬在每个人头上的一方天空。光明在哪里，黑暗也在哪里，相依相伴，亘古如此。而电肇开启了现代社会的繁荣也重建了现代社会的结构。日趋庞大、无限复杂的现代社会，挤压了个人生活的可怜空间。电的无远弗近、无所不能的威力，塑造了物质化的审美宗旨和标准，而渐行渐远的牧歌式的田园生活，只有在那些没有电线杆的地方还依稀可见。
近来艺术圈中，钟情于工业题材的画家并不少，但多以男性为主。其影响和成就，也颇有可观之处。巨燕作为一个看似娇柔的女性画家，以出格、凌厉的电线杆形象拍马杀到，新颖独特的视角，大气磅礴的具象，冷峻硬朗的刻画，酣畅淋漓的涂抹，细致入微的描摹，欲语还休的隐喻，表达了她对现代社会和都市生活的另类感受，让人悚然而惊，惕然而悟，默然而思。
People who have seen Ju Yan’s electric poles series very often feel as if they have been struck by lightning. The choice of topics is extraordinary, images outstanding with unconventional aggressiveness and desire for freedom. Lines, straight or not as if in a spider web, variegated colors, light or heavy, and images which seem simple but actually complicated, jump out at you and catch your attention. They give you an extraordinary visual experience.
Electric poles can be seen in every city and on every street or corner. They stand there quietly, rain or shine. While the wires they carry, open or concealed, with thousands of strands and ends, secretly enter every public space and family. They carry energy, light up the darkness and accompany everyone’s life. The complicated web of wires somehow resembles the wide spectrum of social relations: Some are straight and some are twisted, some are clear and some are blurry. They are simple light straight lines yet complicated as a spider web. No other thing in the world can be more about the truth of the relationship between people and organizations and those between people. Transformers and distributors quietly organize the wires and electricity flow. Those objects carry the same authority as ‘organizations’. Power or no power, bright or dark, it all depends on them. They control everything. Electric poles stand straight. But the painter sometimes makes them slanted. It is partly for the purpose of the aesthetic layout of the picture. But it also has another purpose: it brings an oppressing sensation. People find their own interpretations. Straight or slope, black or white, beautiful or ugly, kind or evil, day or night, are sometimes reversible. The progress of humans and society, the natural changes with seasons and ups and downs of people’s fate are something everyone has to face. Where there is brightness, there is darkness. They accompany each other. The invention of electricity builds a prosperous modern society and rebuilds the social structure as well. The ever expanding and extremely complicated modern society squeezes the last bit of personal life. The powerful electricity sets up rules and standards for materialism. The ideal life, which is disappearing, can be found only at the places that electric poles are seldom seen.
In recent years, many artists have shown their interests in industrial topics. But most of them are men. Their influences and achievements are amazing. However, Ju Yan, as a female painter, has surprised everyone. She chooses such an extraordinary subject, electric poles, and adopts a special approach. With the massive image, cold, hard and vivid, with depiction, and metaphors she adds, she wants to show people her peculiar perception of modern society and city life, which surprises and enlightens us all.
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