文化有根 創意是伴 Bridging Creativity
(五) 感覺的邏輯:無器官的身體
培根通過畫那些與感覺最相連的可感形式——身體,使繪畫繞過知覺和認識, 直接作用於感覺。被培根拉到感覺層面的身體形象的特別之處在於,這種身體完 全是形象且僅僅只是形象,它與結構截然對立,被表現為肉,而非有面容、骨架、組織器官的有機體。培根以曲線和濃郁的色彩描畫出的種種筋肉飽滿、形態扭結 的躶體,其肉體無一例外呈現出下墜、流瀉、滑動的狀態,就像一塊柔軟、調皮 的肉。比如在《1972 三聯畫》中,翹腿而坐的躶體男子腹部的肉體沿著長椅腳融化流淌,匯成一灘肉汁;在《1968 …
ContinueAdded by 思潮 庫 on March 28, 2020 at 9:18pm — No Comments
讓必要的災變與明確的圖像並存是培根的目的,這正是繪畫事件性的體現: 形象經歷著“從‘可能性’到‘事實性’(或相反)的兩個階段”。而身體正是在逃離形象化的運動過程中獲得了豐富性、表現性與時間性。
前一個可能性階段, 被德勒茲稱為圖表(diagramme),這是畫面災變的開端;後一事實性階段,則是圖畫(tableau),即落實在畫布上的成形的“意象”。
圖表是理解培根創作理念的關鍵,它是培根用之對抗俗套…
Added by 思潮 庫 on March 27, 2020 at 5:23pm — No Comments
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