張霜個展：怎么了！
　　展覽時間: 2008.08.09-09.08
　　開幕酒會: 2008.08.09 16:00
　　展覽地點: 北京方音畫廊
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　　天使小魔女的張霜世界

　　陸蓉之

　　第一次見到張霜的作品，是在成都她和丈夫共用的工作室，因為孕事而未見到她本人。第一眼看到她筆下的天使小魔女，就注定了日后延展開來的緣分。就這樣，素未謀面的張霜，她塑造的小精靈翩然飛進了上海當(dāng)代藝術(shù)館的《動漫美學(xué)雙年展》的展場。然后，韓國、日本著名的策展人金善姬，在上海當(dāng)代藝術(shù)館一看到張霜的作品，就決定邀她到韓國展出。這一年，張霜在成都孕育了她生命中的真命天女，當(dāng)上母親的欣喜和復(fù)雜的生命經(jīng)驗，更加速她幻化出更多紙上的小魔女，隨著各種展覽的邀約飛向外面廣大的世界。

　　張霜是一位直覺式創(chuàng)作的藝術(shù)家，她的藝術(shù)生涯是一場無預(yù)期的美麗意外。

　　她1994年從中央工藝美術(shù)學(xué)院畢業(yè)以后，從事廣告設(shè)計工作，2000年開始在工作之佘，隨心所欲在紙上畫一些線描的涂鴉式的小畫，同時也在黑紙板上用美工刀進行鐫刻紙版畫雕刻的游戲之作。2001年-2002年張霜再到中央美術(shù)學(xué)院進修，在寢室有限的空間里，完成了兩百多張以A4、A3尺寸為主的紙上作品。這個時期張霜從昔日的線描黑白畫，發(fā)展到使用水彩、油畫棒、彩色鉛筆、圓珠筆、金或銀筆……等綜合媒材，使她進入正式創(chuàng)作繪畫狀態(tài)。

　　早期張霜的畫，有很濃厚的兒童畫色彩，也有一些素人畫的特質(zhì)，都是比較天真、隨意的表現(xiàn)方式，而人物，一直是她所關(guān)注的主題。搬到成都，張霜有了自己的工作室，所以2004年到2005年之間，她的畫面變大了，開始重視主題性的創(chuàng)作，《成都表情》系列終于形成明顯的個人風(fēng)格。與其說張霜喜歡畫人物，不如更精確得說，她喜歡表現(xiàn)女性臉部表情細微、豐富的變化，她用了動漫美學(xué)(Animamix)的夸大和趣味化手法，特別是放大眼睛的比例。延續(xù)《成都表情》系列對都會女性的刻畫，《美麗而遺憾的世界》系列描寫那些活在欲望城市里的女性，在豐富的物質(zhì)慰藉和光鮮艷麗的外表下，隱約存在的痛苦與哀傷。2006年上半年畫的《透視裝系列》不再是頭像的形式，用拉長的條幅畫面容納受到擠壓的身體，睜大的驚惶眼神，透露著疑惑和不安的情緒，這樣的眼部特色日后形成她的個人風(fēng)格標(biāo)志。

　　2006年下半期出現(xiàn)的《天使小魔女》系列反映了一位懷孕母親的復(fù)雜心情，既期待又怕又傷害，鬼靈精怪的動作和表情，十足卡通化的大頭小身體造型，像天使又像精靈的女孩，顯得脆弱又堅強，純真又詭異。2007年張霜的女兒出世，看著無辜而純潔的嬰兒一天天長大，她畫中的女孩眼睛越瞪越大，流露出越來越多的驚慌和復(fù)雜的心思和考慮，使她更完善地表達了她身為人母的心路歷程。 從《天使小魔女》系列延伸出《可樂》、《奇怪的數(shù)字》和《怎么了》等較大尺幅的畫作，張霜的創(chuàng)作生涯也漸入佳境，步入成熱。

　　在21世紀(jì)的當(dāng)代藝壇，全球新生代的藝術(shù)家正不知不覺地浸淫在動漫美學(xué)的語境中，動漫美學(xué)(Animamix)是筆者自創(chuàng)的詞匯，用來描述這股由亞洲興起、帶動的新趨勢，指的是這個大時代審美品味的卡通化，就像上一世紀(jì)的審美品味抽象化一般，是美學(xué)的時代性，而不是指動畫、漫畫創(chuàng)作本身。

　　張霜，也正是本人所關(guān)注的動漫美學(xué)發(fā)展中，非常典型的一個例子。

　　The World of Zhang Shuang for the Angel Little Succuba

　　Lu Rongzhi

　　It was at the workroom where Zhangshuang shared with her husband in Chengdu that I saw her works at first time. But I failed to see her because she was pregnant then. The picture of Angel Little Succuba I saw at first glance was doomed to extend our later friendship. So the figure of the little elf produced by Zhang Shuang, whom I never met, joined the exhibition field of Animation Aesthetics Biyearly Exhibition held by Shanghai Contemporary Artistic Museum. However, Jin Shan Ji, a famous Korean and Japanese exhibition planner, determined to invite Zhang Shuang to hold exhibition in Southern Korea when he saw the works of Zhangshuang at one time. It was in this very year that Zhang Shuang had given birth to her daughter, a real lovely fairy, so the happiness of becoming a mother and its relevant experiences to the life have accelerated her productions of more little succubas on the paper, which have flew into the external broad world due to many invitations for exhibition

　　As an artist with intuition typed production, Zhang Shuang started her artistic career out of un-expectation. After graduation from Central Institute of Arts and Crafts in 1994, Zhang Shuang started her works of propaganda design. She began to doodle some casual pictures on the paper in the spare time in 2000, while carved some sculptures with the artistic cutter on the black boards. She attended in advanced studies in China Central Institute of Fine Arts since 2001 till 2002, and finished over 200 pictures on the main paper with the dimensions of A4 and A3 in the limited space of her dormitory. In this period, she began to use many comprehensive medias and materials including the watercolor, canvas bar, colored pencil, ball pen, golden pen or silver pen etc besides the former black and white pictures finished with lines, which made her into a state of formal picture production.

　　Her works in the early time have strong characters of child pictures besides some adult ones. Their expression ways are very innocent and casual, while she focused on the production of the figure pictures. She had her own workroom after moving to Chengdu, so her pictures became broad since 2004 to 2005, while she began to focus on the production with some topics, and the series of Chengdu Expression has formed her striking personal styles finally. It can say that she prefers the tiny and plentiful changes on the facial expressions of woman rather than she preferred the figure picture. She adopts the techniques of exaggeration of Animaxim and interest, esp. the magnification to the proportion of the eyes. Continuing the description of the series works of Chengdu Expression to the urban women, series pictures of Beautiful and Regretful World depicted the women driven by the urban desires, their hidden sorrows and pains under the abundant material supplies and the exterior elegance. The pictures of See-through Dress Series Zhang Shuang finished in the first half of the year of 2006 adopted no forms of head portraits rather than the elongate scrolls to depict the extruded bodies and the opened scared expressions in one’s eyes with the emotion of the confusion and unease, and these characters on the eyes formed the symbol of her late personal style.

　　Series pictures of Angel Little Succuba finished in the last half of the year of 2006 showed the complicated moods of a pregnant mother: expectation and fear of being harmed. The strange activities and expressions of the ghosts and spirits, the figure sculpts of big heads and small bodies with the characters of cartoon, and the girls resembling both the angel and the fairies showing to be both fragile and adamant, na?ve and peculiar. Zhang Shuang had a daughter in 2007, seeing her innocent and pure baby growing day after day, the eyes of the girls in her pictures were becoming larger and larger so as to show more and more panics and complicated ideas and consideration, all these have made her more completely depict her mental courses of being a mother. From series works of Angel Little Succuba to the pictures with larger dimensions including Kola, Strange Digital Numbers and What’s Wrong etc, the production career of Zhang Shuang also gradually entered the most pleasant stage and became mature.

　　In the contemporary artistic field in 21 century, the global artists of new generation are gradually entering the language world of Animaxim. The word Animaxim is a new word produced by myself to describe this new tendency which rose from and led by Asia, e.g. the cartoon trend of the aesthetics appreciation in this big time, just like the abstraction trend in last century. This is the characteristic of this time in aesthetics rather than the animation and caricature production itself.

　　Zhang Shuang is also a very typical case in the development history of Animaxim which I have focused on for long time.