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画家刘野:小王子的严肃与孤独

The painter liu ye: serious and loneliness of the little prince




著名画家·刘野

The famous painter liu ye

 

   童话故事是各种记忆闸门中的一道,重新翻看它们,就如同唤醒深埋在心灵深处那遥远的往日的瞬间,而已是成人或正在长大成人中的我们,打开这扇门时的情景,也不会只是对童年时光的一段复刻。


    Fairy tale is one of the gate, all kinds of memory to revisit them, like a wake up deep in the heart of the distant past, it is an adult or are grown in the us, the scene when open the door, also not just a replica of his childhood.


    正如童话不仅仅是写给孩子的故事,刘野的作品也被大众评价为“给成年人看的童话”, 他就像是拿着彩色画笔的安东尼•埃克苏佩,画着那些从理想国里走出来的小人儿,他把自己也画了进去,以“小王子”的身份游历着他创造的童话王国。

 

    As the fairy tale is not only to the child's story, liu ye's works were also the public evaluation for "for adults see fairy tale," he's like Anthony with colored brush ek suppe, painted with those who go out of the republic of little person, he set himself drew in, traveling with his creation as "little prince" kingdom of fairy tales.

 

    区别于对故事结构和内容上具有普遍意义的理解,刘野对这些“童话”有着自己的解读:“当你认真的去看这些故事就不难发现,在文字后面的情感与思考是孩子们无法体会到的,《美人鱼》是一个很残酷、很黑暗的故事,和小时候看到的美丽爱情无关;《小红帽》也是残忍的黑色故事;《爱丽丝漫游仙境》更不是在讲一个小女孩勇敢的探险精神……”

 

    Difference in the structure and content of the story on the understanding of the universal, liu ye has his own interpretation for the "fairy tale" : "when you carefully to see it's not hard to find these stories, the emotion and thinking is behind the word children unable to realize," the little mermaid "is a story of a very brutal, very dark, and when I was a child to see the beauty of love has nothing to do; black story" little red riding hood, "also cruel; Alice in wonderland is not talking about a young girl's brave spirit of adventure..."


    在九月纽约个展“Bomboo Bomboo Broadway”中展出的一幅新作《匹诺曹》的画布背面,刘野写着这样一段话:“大概在40年以前,我读过一本名为《匹诺曹》的童话书,如今,我画了一幅匹诺曹的肖像画,希望在40年以后,我将会创作另外一幅匹诺曹。”刘野说我们都会惊讶于自己在不同的年龄、不同的地方,读同一本书时所得到的大不相同的理解,而这一切;“不只是因为它们是关于空间的,更重要的是关于时间的,静止状态和运动状态相互作用,达到一种中间的状态,一切归于无有。”

 

    Solo exhibition in New York in September "Bomboo Bomboo Broadway" on display in a new "Pinocchio" on the back of the canvas, liu ye says: "time" in about 40 years ago, I read a book called "Pinocchio" fairy tale book, today, I painted a portrait of the Pinocchio and hope in the 40 years later, I will create another Pinocchio." Liu ye said that we will be surprised at himself in the different age, different places, reading the same book as you get a different understanding of, and all this; "Not only because they are about space, more importantly, about the time motion state and static state interaction, reaching an intermediate state, all be no more."


    画里话外,“严肃”和“孤独”是刘野最常表达的两个词,这也是艺术家对生命不同的的两种体验方式,它们不必然地导向艺术创造中的一种忧郁心境。在中世纪时期人们将“忧郁”这种情感理解为天才人物所特有的一种属性,但刘野认为“自己的绘画才开始入门的阶段”,这并不是傲慢,而是源于他有着像杨凡艾克一样对待艺术的严谨和细致。



    Painting in the words, "serious" and "lonely" is the most often express the two words of liu ye, this is also the artist mode of two kinds of different life experiences, they are not necessarily oriented in artistic creation, a melancholy mood. In medieval times people will "melancholy" this kind of emotion understanding for the specific attributes of a genius, but liu ye think "introduction to his own paintings began to stage", it is not arrogant, but he has like last Ike treats the rigorous and careful of art.


    刘野在十几岁时就喜欢上尼德兰绘画,教画画的老师评价这种风格是死板的,因为那时大家看到的都还只是画册,所认可的也是列宾这样的艺术家,没有人敢去质疑和对抗主流想法的正确性,但是刘野认定自己真正喜欢的就是这种艺术。他说这种选择和去德国留学没有太大关系的,而是和自己本身有关系,因为很少有德国画家去选择这种风格,并且他们中的大多数都不喜欢。“柏林的美术馆有杨凡艾克大量的藏品,他有很强的宗教感,画面是严肃的,甚至木呆呆的死板,人物的表情大部分与开心或伤心无关,而是一种‘莫名其妙’。他的作品画幅很小,但是力量特别大。”不同于当时南方绘画的清晰直接,尼德兰绘画有着时间凝固的无限感,一种人类更为深刻的情感。也许当年刘野在荷兰第一次看到米菲时的感动,也正是出于这种情感。米菲是荷兰画家迪克•布鲁纳的作品,它和尼德兰绘画一样,都是以直线构成的,特别简练,米菲的整个身体设计也是很呆的,无法乱动并几乎永远是直立的状态。刘野说米菲的眼神有着和尼德兰绘画中的人物一样的“莫名其妙”,他被这种眼神深深打动着,而他们的这场相遇也恰恰在某种程度上让刘野看到并感受到了自己。


    Liu ye Netherlands on teenager like painting, painting teaching teacher evaluation of the style is rigid, because at that time we see is only a picture album, is recognized by repin artists, no one dared to question and fight against the mainstream idea is correct, but liu ye believed that true love is this kind of art. He said the choice and who are not too big to study abroad in Germany, but with their own, because there are few German painter to choose this kind of style, and most of them don't like. "Art gallery in Berlin last Ike a large number of collection, and he has a strong religious feeling, the picture is serious, even MuDaiDai rigid, character expression most has nothing to do with happy or sad, but a" puzzling ". His works format is very small, but particularly large power." Is different from the southern painting clear and direct, Netherlands painting has a time of solidification infinite feeling, a more profound human emotions. Maybe that liu ye in the Netherlands when he first saw miffy touched, it is also for this kind of emotion. Miffy is Dutch artist dick bruner's works, it and the Netherlands paintings, are in straight lines, especially concise, miffy whole body design also is very stay, can't touch and almost always is upright state. Liu ye said miffy's eyes are like the characters in the Netherlands painting "puzzling", he's deeply attached to the eye, and they of the encounter is to some extent that liu ye see and feel yourself.

 

    一幅由九个小部分组成的,整体尺寸为六米乘六米的新作品是刘野在纽约创作的,这也是他有史以来最大画幅的作品。刘野运用了国画中一种相似的比喻手法——在一幅风景画的板式上呈现意向的“竹”,但却是用了一种现代性的方法表现构成,展览中的每幅画布旁边都挂着方格子,使人联想起包豪斯建筑中的可组合型。艺术家Robert C. Morgan对刘野的绘画评价为:“内在化小空间之中的大思路,从而重振目前跨文化过剩艺术中的亲密关系的新可能性。”展览作品中还有一组是小幅创作,《小画家》描述了一个愁眉苦脸的小女孩坐在桌子边画“米菲”;《禁书之三》(向巴尔蒂斯致敬)展示了一位少女正匍匐在地上出神地看书;《鸟》的背景是纯色的,描述了正在黑暗中交配的两只麻雀,使人想起17世纪西班牙静物绘画。尺寸的选择在某种意义上对刘野来说也是一种符号,这些作品传达出他理性的、静默的,有时候又是一种严肃的语气。



    in a landscape rendering intent on the plate of the "bamboo", but it is performed using the method of a kind of modernity, the exhibition of square lattice, are hung beside each canvas reminiscent of Bauhaus architecture can be combination. Artist Robert c. Morgan for evaluation of liu ye's paintings: "internalization of little space big ideas, so as to revive the intimacy in cross-cultural excess art new possibilities." Exhibition of works is a set of small, "the little painter" describes a woebegone little girl sitting on a table painting "miffy"; Banned # 3 (salute to Mr. Di) shows a young girl was prostrate on the ground abstractedly reading; "The bird" is pure color background, describes the mating of two sparrows are the dark, still life painting reminds people of the 17th century Spain. The choice of the size, in a sense for liu ye also is a kind of symbol, these works convey his rational, silent, sometimes is a kind of serious tone.


    相比较文学,刘野认为音乐是更近于绘画的:“巴赫的音乐对我的影响很大,我喜欢他音乐里面的复杂性。他的情感是一种很难演说的不明确,有时候不仅仅是悲伤,而是在一个特别清晰的复杂结构中,让你感受到悲伤之上的情感。”刘野说他会去听巴赫的音乐会,平时在画室画画的时候也听巴赫的音乐:“伴随着创作的音乐难免被经常地落下一些段落,它们变得若隐若现。巴赫的音乐随时听见随时成立,它们是拼贴式的,在不断的循环、重复之间有着丰富的变化。但区别于巴赫的贝多芬,其音乐中的的线性、叙述性的一个故事结构是需要你连续的去听,而不能落下某段旋律。”刘野说绘画就应该是“巴赫”,它们都是理性的、接近建筑和数学的,并且更像是一道道非常有趣的智力游戏,一旦你投入进去了,就很难走出来。 

 

     is very big, I like the complexity of his music. His emotion is a kind of hard to speech is not clear, sometimes is not sad, but in a particularly clear complex structure, let you feel sad emotion." Liu ye said he would listen to Bach's concert, in the studio to paint at ordinary times is listening to Bach's music: "with the creation of music is often to drop a few paragraphs, they become. Bach's music heard at any time, at any time they are compounding, the unceasing circulation, has a wealth of changes between repeat. But different from Bach, Beethoven in the music of the linear structure, narrative of a story is need you to continuous to listen to, and can't fall in a melody." Liu ye said painting should be "Bach", they are rational, close to the building and mathematics, and more like a very interesting intellectual game, once you jump in, it's hard to go out.


 



艺术家的特立独行

The artist's maverick

 

    刘野很容易被人贴上“沉默不健谈型”的标签,但熟悉的人都知道,这只是因为对于玩笑,他有着自己的原则。刘野的幽默是温和的,他说自己小时候的理想是当一名为人民服的公共汽车司机,那种崇高感虽然无法在绘画中实现,但是在当了画家以后,他觉得自己很适合做这样一个有着无限孤独感的职业,也喜欢着在北京的一面生活一面创作。


    Liu ye is easy to be labeled as "silence is not talkative type", but familiar people know that this is only because the joke, he has his own principles. Liu ye's humor is mild, he said he was a child of the ideal is to be a bus driver, named people's clothing lofty feeling though that cannot be achieved in the painting, but after when the painter, he felt that he is very suitable for making such a infinite loneliness career, also like a side of the life in Beijing.


    对待艺术,刘野总是有着自己与众不同的观察角度:“画人物模特的时候,一定要保证其完整性,不可以省略‘脚’的部分,因为我更容易做出‘脚比脸重要’的思考,并且在整个过程中最注重的是坐在这把椅子上的这个人所坐的这把椅子……”也许特立独行是艺术家的群体个性,但这种个性确是刘野与生俱来的。“当时在美院,壁画系工作室的宗旨是‘民族’和‘民间’,我比较抵触这种风气,后来一次创作课,我交给老师的作品是‘两个骷髅’—— 一个人的骷髅和一个羊的骷髅,还附加了一把弹弓……”从此老师便认定刘野在骨子里就是一个叛逆的孩子,即使平时表现的是一位尊敬师长、团结进取的好同学。在大学三年级,刘野选择了远赴德国留学,从此开始了自己一个人的海外生活:“刚出国的时候特别想家、想回国,我常常都会拿出自己带在身边的那些小时候的照片来看,然后对着照片开始画画……”刘野作品里面的儿童形象就是从这个时候开始的,最早的那些经常出现的“小男孩”,具有一定的典型性,也像极了他本人。


    About art, liu ye always have their own distinctive perspectives: "painting character models, make sure its integrity, don't omit the 'feet' part, because I'm more easy to make 'feet is more important than face' thinking, and the most attention in the whole process is sitting in this chair this person to sit in this chair..." Maybe maverick is the artist's personality, but this kind of personality is liu ye born. The tenet of "the mural painting department studio in academy at that time, is a" nation "and" folk ", I resist this kind of culture, then a writing class, I to the teacher's work is a "two skeleton" - a person's skull and a sheep's skeleton, the added a slingshot..." From then on, the teacher then decided that liu ye in essence is a rebellious child, even if at ordinary times is a good students respect teachers, unity and enterprising. In the university three grade, liu ye chose to study in Germany, began his a person's life abroad: "just go abroad especially want to home, want to return home, I will dedicate myself to take on all of the childhood photos, and then began drawing to the photos..." Image is the inside of the works of liu ye children from this time, one of the earliest "little boy", such as those that appear often has certain representativeness, also like him.


    “刚到德国的一年左右时间里,我都停在‘找不到方向’的状态上。观看一场场的展览后,那令人眼花缭乱的各种样式,对我产生了强烈冲击。”在迷茫的第一年,他尝试过行为艺术,也创作过一段时间的抽象画,实验性的使用各种材料:“记得有一次我专门跑到建筑商店里去买那种小袋包装的水泥,回到画室自己勾兑调和后当颜料用,创作完的这幅抽象作品,画幅不大,但是很有‘分量’。”当时他创作的一些抽象的作品也参加过展览,但是没有什么反应,刘野说这可能是因为作品本身很空洞,自己都没意识到,也可能太受样式和形式的限制而无法打动人,后来他把没卖出去的剩下几幅都毁掉了,这样做的原因用他的话说是;“只有把它们彻底地清除掉才能真正地重新开始。”



    "Just to Germany a year or so of time, I have stopped on 'can't find the direction of state. After watching the exhibition of increase, the dazzling variety of style, has a strong impact on me." Lost in the first year, he tried behavior art, also over a period of time of abstract painting, the use of experimental materials: "I remember one time I ran to the building in the shop to buy that kind of small bags of cement, back to the studio after blending and used as a pigment, finished writing the abstract work, the picture is not big, but it is' weight '." When he also participated in the exhibition of some abstract works, but there is no reaction, liu ye said this may be because the work itself is empty, can't realize, may also be too limited by style and form to impress people, didn't he later sold few picture is destroyed, the reason for doing this in his words; "Only thoroughly remove them to really start again."


    一年后刘野渐渐意识到,重要的是找到一个最普通的形式,一个最适合自己表达、最想表达的形式进行创作,“大多数绘画开始于一块白色的平面,这块平面是纯洁的,画家把情感与精神赋予它,用独特的形式。真正有说服力的、打动人的是情感,这也是艺术最本质的内容,过多的形式不能说明任何问题,只会让我反感。”后来的作品也不再是因为想家,而是渐渐地把他“自己”画了进去,这是在某种程度上找到了刘野自己真实的情感,动之以情的创作日趋成熟起来。二年级时候有画廊找到刘野谈作品代理,虽然并不是什么有名气的大画廊,但是对于当时还是一名在校学生的他来说,这简直是像做梦一样令人特别兴奋的事儿,这让他在精神上受到了极大的鼓励,由此坚定地告诉自己要继续努力地画下去。


    Liu ye gradually realized that a year later, it is important to find one of the most common form, one of the most suitable for their expression, to express the form of creation, "most painting begins with a single piece of white plane, the plane is pure, the painter gives it the emotion and spirit, in the form of a unique. Really convincing, to impress people is emotion, which is the essential content, artistic form can't show any issue too much, will only let me off." Later work is no longer for homesick, but gradually "own" drew him in, this is to some extent found liu ye your true feelings, respond the creation of the increasingly mature. Grade 2 when there are gallery agent find liu ye about works, though not what big famous gallery, but for he was still a college student, it's like a dream especially exciting thing, this let him mentally by the great encouragement, thus firmly tell myself to continue efforts to draw.



“纯粹”是绘画的终极目标

The ultimate goal of "pure" is painting a picture


    “我并不把蒙德里安认定是一位抽象画家,其对我有所启发的也不是他的抽象,而是他作品中一种纯粹的力量和强烈的精神性,这些对我产生了很深的影响。他对艺术达到的纯粹的极致,也是我一直所追求并努力想达到的。”刘野很严肃地说道:“纯红、纯黄、纯蓝,以及把蒙德里安的作品作为符号出现在我的场景中,这些都是我在某一段时间创作中对一个符号的应用,和‘小海军’、‘小女孩’或者‘竹’等等没有区别。它们更不是怀旧,而是我对蒙德里安的小小致敬,也可以说是游戏。”

 

    "I don't deem mondrian is an abstract painter, nor is it to inspire me his abstraction, but he works in a kind of pure strength and strong spiritual, these have a deep influence on me. He reached in art of pure perfection, and I have been pursuing and trying to achieve." Liu ye said very seriously: "pure red, pure yellow, pure blue, as well as the mondrian works as a symbol in my scenario, these are my in a certain period of time the application of the creation of a symbol, and" small navy ", "little girl" or "bamboo", etc. There is no difference. They are not nostalgia, but my little tribute of mondrian, also can saying is the game."


    “蒙德里安”作为符号出现的同时,也具有一定的偶然性,发生于理性工作状态中的“偶然”,不只是狭义的、浅层的偶然性。“蒙德里安作品中的‘一条线’、‘一个色块’都充满了偶然性,同样是他的一幅画,在不同的时间放进不同的空间里,不同的光线下,用不同的时间去创作,以及这根线、这块色本身不同的粗细程度、比例大小等,给你的视觉感受,甚至整个意义都是不同的。”好比在盛夏时节创作一幅作品,画之前以及整个过程中你都会对它的色调、尺寸、内容等等不断的做出决定,而这些决定是关乎于时间的,当你把创作的季节换成初秋,这些决定就不尽相同。“有时在已经画了两个月的作品上,突然全部改成了蓝颜色的,或者完全画成一个‘红’;一幅两米的画布被逐渐裁剪到一米;最初设计的两个人物随着创作过程中不断的调整而消失,使最后的画面成为一个空镜头……” 刘野说这些都是艺术的偶然性,它们是有可能发生并且经常发生的,但从另一方面来讲,不确定性和偶然性给画家创造的自由环境是远远高于一个建筑师的。


    "Mondrian" as the symbols appear at the same time, also has certain chanciness, occurred in a rational working status in the "accidental", not only the accident of narrow and shallow. "Mondrian works in the" line ", "one piece" is full of chance, is also one of his paintings, at different times in different space, different light, with different time to create, and the line, the color itself different proportion of the degree of thickness, size, etc., to you, even the whole meaning is different." Like in the summer to create a picture, picture before you will be on it, as well as the whole process of color, size, content and so on unceasingly to make a decision, and these decisions is about the time, creation of the season when you convert into early autumn, the decision is not the same. "Sometimes in two months 'work on painting, suddenly all changed to blue color, or completely as a" red ", a two meters of canvas is gradually reduce to a metre; the initial design of the two characters as create the adjustment process, make the picture a null lens..." Liu ye said these are the chance of art, they are likely to happen and happen often, but on the other hand, the uncertainty and chance for the painter to create free environment is far higher than that of an architect.


    抽象思维是一个形而上学的高级情致,“形而上学”是绘画的一种最高形式。刘野认为并不是只有抽象画才有抽象思维,他说:“能否达到纯粹性与精神性,和它是抽象或者具象没有关系,很多抽象画家对艺术上浅薄的思考使其创作出来的作品比具象还具象,这也就是成了装饰画的制作,失去了所有意义。”很多艺术家也都受到过哲学思维的影响,刘野说自己也曾买弗洛伊德的书,当时的笔记记录还几乎是抄完了整本,“但是作为画家,你不能按照任何一个哲学家的思想去创作一张作品,因为绘画比哲学有更加的不可知性与神秘性,以哲学思维出发并做出思考只会让你受到更多的限制。画家又是非逻辑的,他甚至可能都是不太了解自己的,也就自然不用想明白了才去做。”追溯历史,我们可以看到塞尚、达芬奇、凡。艾克等等众多伟大的艺术家都是生活在早于弗洛伊德许多年的时代里,这说明艺术家并不需要哲学家去指导自己进行思考,他们可以超越哲学家的思维范畴来提供给世界有着自己独特语言的作品,而不是为哲学家做插图。

    Abstract thinking is a metaphysical senior British, "metaphysics" is the highest form of painting. Liu ye think not only abstract painting has abstract thinking, he said: "can achieve pure sex and spirituality, has nothing to do with it is abstract or representational, shallow thinking on many abstract painter of art make it than figurative also figures out of works, which is a decoration, lost all meaning." Many artists are also influenced by philosophical thinking, liu ye said he had bought Freud's book, notes at that time is almost finished the whole book, copying "but as a painter, you are not according to any one philosopher's ideas to create a piece of work, because the painting the incomprehensibility of have more than philosophical and mysteriousness, proceed to philosophical thinking and make thinking will only make you more restrictions. The painter and is logical, he may be even don't know their own, and they don't want to see." Traces the history, we can see Cezanne, leonardo Da Vinci, van. Ike, and so on many great artists are living in an age of many years earlier than Freud, this suggests that the artist does not need to be philosophers to guide their thinking, they can go beyond the thinking of a philosopher category to provide the world with their own unique language, rather than do illustrations for philosophers.

  

 


忘掉一切才能开始画画

Forget all can start painting

 

    哲学和绘画一样,都是需要系统的去看,去理解上下文的关系,外行是根本看不懂艺术的,只有专业的人才能领会其中的妙处。然而这种解读也有可能在某种程度上会违背创作者的本意,但是刘野说:“你根本控制不了这种‘本意’,你甚至不知道它是什么,你不知道你自己是谁,不知道你的人生意义是什么……这些都是永恒无法解决的问题。我的画更没有特指,每张作品也都不是答案,或许更接近于一个问题。”大众对刘野有着很多的误读,就像一些人认为毕加索的绘画是一种儿童都可以做到的“简单”一样,可刘野从不进行过多说明,也放弃做出任何解释。

 

    Philosophy as well as painting, are all require the system to see, to understand the relationship between context and dilettante is simply don't understand the art, only a professional talent can comprehend the beauty of them. However this interpretation may also be in some extent against the creator's original intention, but liu ye said: "you can't control the intention, you don't even know what it is, you don't know who you are, you don't know what's your meaning of life... these are eternal cannot solve the problem. My painting more without specifying, each works are not the answer, perhaps is closer to a problem." Mass of liu ye has a lot of misunderstanding, as some people think that Picasso's painting is a kind of "simple" children can do, but liu ye never too much, or give up any explanation.


    从小女孩、小海军,米菲兔……再到近几年的静物风景,相比较过去作品中的“舞台感”和“戏剧性”,刘野的近作越来越多地渗透出平衡、优雅、纯粹、宁静。他说:“‘舞台感’和‘戏剧性’都是我以后创作中要避免的东西,它们在以往作品中的出现只能说明当时的自己不够自由,我以后要做的正是打破这些假象所带来的限制,因为舞台是人类的一个幻觉,是一个虚假的‘盒子’,即使好的表演也是艺术,但毕竟需要表演的都是非真实的。”他还说自己的这些选择并不是想要在风格上做出什么样的变化,自己也从来没有想过转变风格一类的问题,因为艺术家不是一本百科全书,也不是一本美术画册,更不是一条变色龙,他的艺术风格是长时间形成的结果,是很难改变的,并且也不应去追求这种改变,因为人的一生时间很短,盲目地急于改变,是做不成什么事情的,而且持续性也很重要,只有持续地去做一件事,你才会发现它的可能性越来越多。

 

    Girl, small navy, miffy rabbit... Compared to the still life scenery in recent years, the past works in the "stage" and "dramatic", liu ye's latest increasingly permeate a balanced, elegant, pure and peaceful. He said: "' sense of stage" and "dramatic creation after I want to avoid something, they appear in the previous works just means not free at that time, I will have to do is to break the illusion of restrictions, because the stage is an illusion of mankind, is a false 'box', even good performance art, but need to perform is true after all." He also said that these choices are not want to make what kind of changes on the style, oneself also never want to change style kind of problem, because the artist is not an encyclopedia, nor an art picture album, more is not a chameleon, his artistic style is formed for a long time as a result, it is hard to change, and should not to pursue this kind of change, because the person's life time is short, blindly rush to change, what thing is done, and sustainability is very important also, only continue to do one thing, the possibility that you will find it more and more.


    我们每天都无法回避地和市场存在并发生关系,但它具有的那种神秘性的力量,让我们迎合它不行,驾驭它更不可能。刘野对待市场的态度是十分从容的:“我不认为市场就是魔鬼,而且可以坦白的说,创作过程中你是没有办法考虑市场的,它也是完全超越我的理解的,对付它的最好的办法就是不想它,而只去想我的作品能不能传达出我自己本身的东西。”

 


    Every day we are in a relationship with market exists and is unable to avoid, but it has a kind of mysterious power, let us not to cater to it, handle it more impossible. Liu ye attitude towards the market is very calm: "I don't think the market is the devil, and frankly, you are no way to consider the market in the process of creation, it is completely beyond my understanding, the best way to deal with it just don't want it, and to think that I only work can convey my own things."


    一张画永远不可能完成,直到它消失为止,刘野说只有忘掉一切才能开始画画,但“忘掉一切”并不是一件容易的事,因为当你知道的越多,一切就变得越难开始,就像在旅行的路上,如果你买了太多的纪念品,那么你的脚步就会因此而变得沉重,繁复的行李包袱压在身上使你很难走到目的地,所以这时候,你要放弃一些东西,才能得到继续前行的力量。

 


    A picture can never be complete, until it disappeared, liu ye said only forget everything to start drawing, but "forget all" is not an easy thing, because when you know, the more it becomes more difficult to start, just like in the way of travel, if you buy too many products, so will your footsteps and become a heavy, heavy and complicated baggage baggage pressure in the body make you hard to walk to the destination, so at this time, you want to give up something, to get its power to move on.


 

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