Wang Guangle 王光乐：绘画的意义

Wang Guangle, 180620, 2018, acrylic on canvas, 280 cm × 180 cm (9' 2-1/4" × 70-7/8") © Wang Guangle

王光乐

Wang Guangle

Classical philosophers argued that time is not a reality, but a concept or a measure. In thermodynamics we think of time in terms of entropy (time flows forward while the cosmos grows more chaotic). This process is mono-directional, of course. We experience life in a future-bound continuum via ‘the arrow of time,’ as disorder expands and anarchy envelopes everything. This metaphysical absolute informs us that time, life, existence and our experiences are utterly irreversible. Time is a finite and sacred resource. Time and space are inextricably fused in what Einstein mathematically identified as ‘spacetime,’ or time as three-dimensional space integrated in a four-dimensional continuum. Frontline cosmologists have even imagined ‘multiverses’ backed by brain-bending mathematical proofs and simulations.

Wang Guangle, 181004, 2018, acrylic on canvas, 230 cm × 160 cm (90-9/16" × 63") © Wang Guangle

古典哲学家认为，时间不是一个现实，而是一个概念或衡量。在热力学中，我们用熵来考虑时间(时间向前流动，而宇宙变得更加混乱)。当然，这个过程是单向的。我们通过“时间之箭”(the arrow of time)来体验未来的连续体，无序的扩展和无政府状态包住了一切。这个形而上学的绝对告诉我们，时间、生命、存在和我们的经历是完全不可逆转的。时间是一种有限而神圣的资源。时间和空间是不可分割地融合在一起的，这就是爱因斯坦在数学上所说的“时空”，或者说时间是一个四维连续体中的三维空间。第一线的宇宙学家甚至设想出了“多元宇宙”，这一设想得到了弯曲大脑的数学证明和模拟的支持。

Wang Guangle, 180725, 2018, acrylic on canvas, 230 cm × 160 cm (90-9/16" × 63") © Wang Guangle

But Beijing-based Wang Guangle 王光乐 flips the artistic-philosophical script. Through his opioid-like, narcotic neo-Expressionist compositions we see flickering mirages, pictorial dreamscapes and soothing spacio-temporal dualities. Titled ‘Time Paintings’ and ‘Duo Color’ (in chinese ‘duo 多’ means ‘many’; ‘color 色’ is pronounced ‘se’; hence a kind of clever multi-coded semantics embedded in his work). His painterly magic is comprised of chemical interactions, alchemical collages and lively layered pigments depicted with relativistic fizz and metaphysical pep.

通过他的阿片类的、麻醉的新表现主义作品，我们看到了闪烁的幻景、图像般的梦境和舒缓的时空二元性。名为“时间画”和“颜色”(在中国“多”意味着“许多”;“颜色色”是明显的“se”;因此在他的作品中嵌入了一种聪明的多编码语义)。他的绘画魔力是由化学相互作用，炼金术拼贴和生动的分层颜料描绘与相对论的嘶嘶声和形而上的活力。

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