孫良 ｜ 獨行者藝術史
賽璐璐是什麼材料
孫良 Sun Liang
在這條道路上，他憑著天性、愛好、敏感和探索精神，任意採擷西方、
東方的文化資源，任意介入城市、鄉村的人文語境，從來沒有西化或守成的心理障礙。但他的作品一望便知乃是中國人所為，是中國上海藝術家所為。
On this path， he willfully gathers cultural resources from the East and the West，
engaging in the humanistic
discourse of urban environment and the countryside，
without any westernized or clichés inspired by his character， hobbies， sensibilities
and exploring spirit。
At the first glance of his artwork， one would determine that
this artist is Chinese， from Shanghai。
節選至《獨行者藝術史——孫良作品散記》
Adapted of 『Art History of a Non-conformist——Notes on Sun Liang’s Artworks』
漫幻 2007
情慵 2010
失血月亮 2010
滑凝 2011
幽思 2012
沉墜 2012
幽靈星辰 2013
心願之外 2012
幾乎在天上 2012
文/王林
“只要有卡夫卡/ 再加上一位夢遊的女郎/ 你就能征服世界/ 哪怕是天下著雨/ 哪怕是雨遮住了歷史的苦難與輝煌”——這是我在捷克布拉格寫下的詩句。當我看見孫良在捷克做的玻璃作品時，真的感到很驚訝，他能夠如此準確而又特殊地把握藝術創作的在地感，又能夠那麼坦然而嫻熟地將他者性融入自我之中。可以說，正是如此稟性造就了孫良的藝術，其獨特性在中國藝術家中是很少見的。
孫良是上海藝術家。從念大學開始，他在上海生活了三十多年。
上海這座城市之於中國非常特別，這裡的市民從來不對殖民時代表示深惡痛絕。而在中國的教科書中，殖民者永遠是敵人、是野蠻的入侵者而非文明的傳播者。上海能夠成為中國最大的現代化都市，以至於上海市之所以有豐富的現代文化，和開埠殖民有密切關係，甚至就是開埠殖民的結果。其實，中國社會的現代化程序，始終伴隨著西方文明作為他者的共在關係，並非只有他者侵略，我等反抗的二元對立。這個道理就像西方步入現代化受到東方文明和其他文明的影響一樣，現代化始終是一個世界性過程。從這個角度來看中國近現代史，儘管需要強調自身文化的獨特性，但決不可將階級鬥爭國際化，非要在歷史和現實中樹西方、歐美為假想敵不可。
說這些話，是因為孫良的作品與眾不同，是因為他走了一條獨闢蹊徑的創作道路。在這條道路上，他憑著天性、愛好、敏感和探索精神，任意採擷西方、東方的文化資源，任意介入城市、鄉村的人文語境，從來沒有西化或守成的心理障礙。但他的作品一望便知乃是中國人所為，是中國上海藝術家所為。搜遍中國當代藝術史，沒有一個像他這樣畫、這樣做、這樣玩的——孫良很喜歡“玩”這個詞兒。在我的理解中，“玩”就是興趣，就是愛好，就是兒時遊戲的身心投入，就是今生今世不離不棄非做不可也非做好不可的事兒。有一句話是這樣說的：“主要是玩，順便做點事，要做就把它做好。”
這句話對孫良一定很合適。
一、八十年代的探索者
上個世紀八十年代，是中國藝術走向變革的時期。先是鄉土繪畫，於官方現實主義集體傳統中，置入反思歷史的真實要求和藝術語言的個人特點。儘管突破有限，但確實激發了青年一代的創作活力。個人性表達一旦開啟缺口，就像潘多拉的盒子一樣難以收回。85新潮美術對新舊集體傳統的否定，其核心即是強調自我表現及個性解放的重要性。青年藝術家們所借重的正是以個人自由為前提的西方現代藝術。但新潮美術的參予者與推動者，為了爭奪文化權利，又往往藉助群體並強調權重性，這無異於農民革命梁山聚義搶佔山頭。在這樣一場運動式的視覺革命中，上海藝術家遊離在外，進出自由，並未投身其中。他們這種與生俱來的個體性，和上海現代文化歷史有關。上海人不愛抱團結夥，也不喜趨附中心，上海藝術家對北京城中央敘事的反感，就可以看出這兩座城市的區別。
孫良正是這樣一位上海藝術家，一位新潮美術的參予者但同時又是局外人。
他一九八二年從上海輕工業學院美術設計系畢業，即投入到現代藝術的學習、創作與探索之中。從現在留下的作品看，大致可分為四類：
一類是靜物畫。瓶器花卉兼有，延續學院寫生訓練，但可以看出孫良受到“印象派之後”的影響。畫面濃重而強烈，其光感的自由分佈和輪廓線的強調突出，為以後創作做了很好的準備。
二類是風景畫。以建築為主，同樣是色彩凝重，肌理強勁。作品不太注重空間縱深，而是強調平面分佈，多采用橫平豎直的幾何構圖，形式感突出。部分作品受勃拉克立體主義的影響，將物件畫成了交錯互置的形體堆積。
三類是人物肖像。有寫實的，也有表現的；有的畫得很具體，有的畫得很簡略。孫良似乎不太喜歡畫人，也沒多少耐心去仔細刻畫物件。這大概跟他學設計出身有關，也跟他好玩善變的天性有關。
四類是帶有超現實主義傾向的作品。可以看到克利閃爍不定的色彩光感，也可以看到米羅天真浪漫的符號構成，甚至還有夏加爾想象繪畫的人物形態。其中魚類、飛鳥及貓頭鷹等形象，似乎是一種預示，露出藝術家四處尋找的興趣之所在。
這一時期是孫良探索創作方向的時期，除油畫作品外，他還做過材料拼貼作品，也嘗試過抽象水墨創作。一九八八年他還組織上海藝術家做過裝置——行為藝術作品《最後的晚餐》，這些作品特別是繪畫作品可以看出其藝術感覺的特別之處，比如對構成性、透光感和變異形態的敏銳，但這些東西並沒有集結起來，形成一種創作方式和藝術語言。此時的孫良，就像作品《幽門》、《投影》、《綠房間》、《紅房間》中那道介於不同空間的身影，孤獨而又彷徨，遊離而又猶豫。
他需要一個契機，挑戰物件，也挑戰自己。
二、八九時段的感受者
一九八九年政治事件對中國所有的青年藝術家，都是一個意想不到的打擊。外在壓力接踵而至，新潮美術戛然而止。運動的中斷讓那些善於思考的藝術家，開始重新清理自己的創作思路。對孫良而言，強烈的心理刺激讓他夜不能寐。生機化作死亡，人形變成骷髏。他在畫面上突然變得精神集中，心無旁騖。如果比較一下一九八八年的畫作，就可以知道一九八九年對於孫良創作是一種突變。作為一個真誠的藝術家，他沒法迴避自己內心的悲慟。
大概有三年左右時間，孫良沉浸在緊張而又淒厲的情緒之中，對周圍的一切他感到古怪、荒唐和迷惑。他畫怪異的行走，畫死亡的聯姻，畫誘惑的棋局，畫蠅眼中的世界，畫死而不僵的百足之蟲。骷髏是這一時段的主要形象之一，出現在各種畫面中。作為死亡的象徵，孫良的描繪或者噬血恐怖，或者嬉笑猙獰，往往伴隨著落地或騰空的人頭，其對歷史之死、時代之死的祭奠是深入心扉的。他藉助中國神話傳說中的精衛鳥，西方文化故事中的伊卡洛斯、奧菲麗婭和基督耶穌，來表達對死難的追悼。在中國美術界對犧牲者沉默、迴避和遺忘之時，孫良以一批凝重的作品錄製了自己也是所有親歷者的心路歷程。
我第一次看到這些作品是在一九九二年車庫藝術展上。那是真正的地下藝術展，地點是上海岳陽路某大樓的地下車庫。記得展覽開幕時，車庫金屬捲簾門緩緩升起，一排參展藝術家從腳到頭出現在人們面前，氣氛莊重而肅穆。在這樣的展覽上展出孫良的作品，自有其特殊的紀念意義。
中國知識分子歷年遭受的苦難很少有全面深入的闡說，八十年代的思想解放運動只是短暫的蜜月期。出於對文化大革命的否定，上下之間的確有一個取向不同但相互重合的交點。然而知識分子對於歷史縱深的反省與批判，很快就被當權者視為叛逆。一九八九年對思想聯姻的中止是如此突兀而又如此酷烈，剛剛集結的人文知識分子並沒有做好思想準備，潛逃、流竄、隱逸，幾成崩潰之勢。孫良作品中出現的《婚床》、《穿越婚戒》等關於婚姻死亡或死亡婚姻的形象，正是歷史的象徵。充滿理想主義和浪漫情懷的八十年代就此終結，對孫良來說是痛苦、絕望和荒誕的。他只能在不斷襲來的夢魘中面對畫布。從這個時候開始，各種形體從畫布四面介入，外部世界對於內心的壓迫感，成為孫良繪畫創作的構圖方式。
但孫良並不畏懼，其畫面總有一種從內向外的張力。他畫大聲吼叫的嘴，畫絲絲吐出的舌頭，畫圓睜瞳孔的眼睛——骷髏的、人物的、動物的。其參差的線條、粗礪的筆觸和厚重的色彩，都會讓觀者感受到憤怒與抗議的恨意。縱深的阻斷和光線的稀微，讓平面分佈的形象不無迷惘、失落、惆悵與悲哀，其動態與關聯在飄浮的空間裡無所歸依。
如果這批畫在很多年以後再次展出，我相信還會產生出不同的意義。歷史是不能忘記的。我們對於歷史的追述，並非只有事實的記錄，對於人的內心，也許更重要的是精神創傷的記憶。
三、都市文化的夢遊者
對於一九八九年，當權者迫於外部壓力，不得不採取淡化策略，同時出於經濟發展的需要，繼續實行對外開放政策。由於先進通訊工具在中國城鄉逐漸普及，民間一直在爭取自由表達的權利和方式。
經過八九時段的創作經歷，孫良的心情得以緩解，他也從中找到了自己的題材範圍和圖式特徵。一九九二年以後其畫風明顯改變，畫面變輕變薄變虛，從現實感受中抽離，進入到夢幻情景之中。
這一畫畫了二十年。
二十年間中國美術界發生了巨大變化。從他者化的國際接軌到資本化的市場操作，從明星化圈子到官方化體制，孫良的同時代人有不少從當年革命者變成既得利益者，遊刃於商情、官場、秀臺之間。儘管孫良依舊九三年就參加了第四十五屆威尼斯雙年展“東方之路”中國部分，但他並不屬於奧利瓦等人力推的“中國波普”。他不願追隨潮流，始終沉溺在個人夢境中不能自拔也不想自拔，以此抗拒變質乏味的世界和令人反感的歷史。
孫良做著各種夢：深夢、淡夢、弱夢、幽夢、醉夢、迷夢、幻夢、寒夢、碎夢和白日夢，生活在一個精靈古怪的世界裡。這裡是蜘蛛和蟾蜍的天地，是遊蛇和海星的巢穴。不乏翅羽、鱗甲，也不乏利爪、長喙，更有鷙禽怪獸和羽人貓女。孫良彷彿在水晶瓶中聚精會神地觀察它們：這些靈物有時如煙霧般飄來，幻化出奇妙的身軀；有時又如雲霞般散去，留下些美麗的背影——他在畫面上捕捉自己的想象，也在繪製中構織自己的想象，在想象中與物件合二為一。
這些想象是都市化的：精緻講究的裝飾感，不無享樂者消費；矯揉造作的情色味，總有夜生活隱私。一切是那樣美好動人，一切又是那麼虛幻迷茫。中國都市的迅速發展和都市化程序的突飛猛進，讓所有人熟悉的城市一下變得陌生。孫良並沒有去刻畫都市，也沒有去表現都市中人，但他描繪的太虛幻境，卻充滿了都市文化情調和都市生活意味，折射出都市心理的迷失與惆悵。這種說不清道不明的情緒，瀰漫在今天中國城市的每一個角落，無論是熙熙攘攘的太平洋百貨，還是各自為政的星巴克酒吧。我想孫良的畫可以放進都市空間的很多地方，商場、飯店、酒肆、茶樓等等，原因是都市生活的熱鬧恰恰映襯出都市精神的空虛，而孫良作品中的空幻與熱烈，既是一種表達，又是一種揭示。
孫良是最早描繪都市豔俗的藝術家。上海生活中所熟知的洛可可藝術與十九世紀新藝術等等，如今病態地置入暴發的城市奢華之中，偽娘假女般矯情的裝飾隨處可見。孫良對此深有體悟，一方面不憚將其納入畫面，取其豔而剔其俗，另一方面則藉助情色對幻想的推動，造成文化之於人慾的反諷。在孫良精緻、唯美、充滿裝飾感的畫面上，我們可以感受到因混雜糅合而奇妙誘人的後現代文化氛圍。孫良善於將生活與感受、文化與環境、歷史與個人等關係熔為畫面氛圍。其關鍵之處，就是把裝飾大膽地引入當代繪畫之中。現代主義繪畫曾把裝飾視為洪水猛獸，然裝飾之於社會之於人文，卻很能折射歷史的變遷。其非精英化的市井趣味及社群區別，恰恰是當代藝術可以利用的資源。孫良在此方面所發揮的創造力，在中國美術界是首屈一指的。
四、多種媒材的介入者
在中國當代藝術中，上海藝術家最重品質。不單是對創作特點的要求，也不單是對藝術語言的講究，他們對於質材和感覺的相互關係亦有非常獨到的眼光。孫良乃是個中高手與業內玩家。
他嘗試過各種畫材和其他材料，畫底用過布面、紙本、絲綢、皮草、鋁箔、賽璐璐片、肌膚（紋身）等。顏料用過油彩、丙烯、水墨、馬克筆甚至是指甲油。一九九九年以後，孫良在持續作畫的同時，每年都玩一種新東西，他做過雕塑、裝置、影像及傢俱設計。但不管玩什麼、怎麼玩，萬變不離其宗，他始終保持著自己在畫中的感覺。邊界的突破與樣式的拓展，無非是讓自己在更大空間揮灑才情、挖掘潛能並以此保持創作活力。孫良的自信在於，既能放任天性又敢面對挑戰。他經常自我設局，以此考驗自我也反省自我。就這點而言，他比那些看別人眼色而行、視市場反應而動的藝術家，更本色更本位也更本質。可惜在中國美術界，孫良這樣的藝術家太少，而機會主義者又太多太多。
孫良曾做過皮上油畫展，題為《失落的天空》。他將作品畫在皮革上，不只是畫底材料的轉變。皮革來自動物，其形其質存有動物性狀，是很有身體感覺的材料。孫良筆下那些飛禽走獸出現其上，不僅有物與形的連線，更有離與合的對比。皮革的貴重與畫面的精緻相互襯托，更增添了都市美學意味。皮革不規則的異形，可以助推畫面幻想，亦為作品的裝飾與佈置帶來了新的可能性。同樣的效果，也體現在孫良的絲綢作品中。輕質材料的飄逸與靈動，和夢幻般的畫面形象天然吻合。薄紗透亮的質地，配以鮮豔富麗的色彩，更能映襯出畫面的朦朧光感。孫良往往藉此充分利用展覽現場，營造具體可感的空間氛圍。而且長期以來，孫良一直鍾情水墨書畫。從早期的抽象水墨到近年的沒骨花鳥，孫良喜歡毛筆在宣紙上輕盈流動、自然浸潤的感覺。他樂於把春去秋來、花開葉落的體會畫成一幅幅小品，配上些頗有感觸的書寫。畫面新鮮而隨意，很輕鬆，也很淡定，由此保持著自己身居邊緣、自得其樂的心性。
在孫良的材料作品中，最值得提及的是他的玻璃作品。玻璃質材的晶瑩剔透、精緻玲瓏，十分合乎他那些充滿幻覺感的形象與形式追求。而玻璃堅硬與易碎並存的特性，更易溝通孫良對當代都市文化心理的揭示與反諷。他對色彩的把握雅緻而又微妙，加上玻璃特別是水晶玻璃的透光與折射，有更加純粹而又飽滿、更加鮮明而又豐厚的效果。而對玻璃作品的造型，孫良既有設計功底，又有繪畫積累，無論是器皿型制，還是形象塑造，他都能隨機生髮，得心應手。大到玻璃椅子裝置，小到酒杯瓶器，孫良把波西米亞——一種自由流浪和自我放逐的靈魂，灌注到作品之中。質材的冰冷與色彩的熱烈，器具的內斂與形象的外肆，在讓人在對比的張力中，彷彿聽見海妖的歌聲和女巫的咒語。難怪孫良要去波西米亞的故鄉捷克做玻璃作品，難怪孫良那麼酷愛製作曾盛滿鮮血的聖盃——他不能放棄自由嚮往的藝術精神，也不能忘記自由所經歷的血腥與殘酷。
在孫良把都市的慾望與情色、精神的夢幻與迷惘、藝術的奇特與異樣，通通熔為一爐的時候，我們看到的其實是一位質樸的藝術家：他很單純，只因熱愛藝術而從事藝術；他很執著，不能忘記被人遮蔽的歷史；他很認真，對作品製作精益求精；他很浪漫，為爭取個人自由而拒絕潮流。他就是這樣一個藝術家、這樣一個人——如果要寫藝術史，孫良肯定不在既成套路里。或者是藝術史遷就他，或者是他改變藝術史。
2012年3月9日
BY Wang Lin
As long as Kafka is there / with a sleepwalking woman / you will overcome the world / even if it rains / even if rain covers the all the pains and glories in history - This is the poem I wrote in Prague， Czech Republic。 I was amazed by the glass works Sun Liang made in the Czech Republic， his precision and unique command on the essence of artistic practice， as well as his graceful integration of the otherness into his own。 In other words， his characteristics make the art of Sun Liang， and his uniqueness is rare among Chinese artists。
Sun Liang is a Shanghai artist。 Since his college years， he’s been living in Shanghai over three decades。
Shanghai is very unique among Chinese cities， its citizens have never expressed despise toward the colonial era。 In the Chinese text books， the colonizers have always been portrayed as the enemies， savage invaders rather than messengers of civilizations。 Shanghai’s becoming of the China’s largest modernized city， and its diverse modern cultures are related to itsfounding colonization， in other words， even as the outcome of colonialism。 In fact， the modernization process of Chinese society has always been pegged to the mutual existence of Western civilization with the other， but the invasions of the others or the dichotomy we resist。 The principle is the same， as western civilization stepping into modernization was equally influenced by the oriental and other civilizations， as modernization has always been a global process。 In this perspective， as much as modern Chinese history needs to emphasize its cultural identity， we shouldn’t address class struggle on an international level， or to imagine the West， Euro-America as the enemy in the historical and real context。
Having said that， Sun Liang’s artworks are unique， because he took on a new creative path。 On this path， he willfully gathers cultural resources from the East and the West， engaging in the humanistic discourse of urban environment and the countryside， without any westernized or clichés inspired by his character， hobbies， sensibilities and exploring spirit。 At the first glance of his artwork， one would determine that this artist is Chinese， from Shanghai。 If one were to look into contemporary Chinese art， no one paints， makes or plays like him – Sun Liang likes the word Play。 In my understanding， playing suggests interest， hobbies， and being fully engaged as children play， something that is indispensible in his life。 One phrase sums it up， It is primarily about playing， some things are done in passing， while you are doing it， give your best。
This phrase best describes Sun Liang。
I。 An Explorer of the 1980s
In the 1980s， Chinese art underwent a period of transitions。 First， there was the emergence of countryside paintings， as a part of the official realist collective tradition， inseminating the urgency to reflect on the history and individual artistic language。 Although its breakthrough was limited， it truly stimulated the creative impulse of the young generation。 Once the individual expression opened up， like a Pandora box， it’d be difficult to shut down again。 The rejection made by the 85’ New Waves Movement to the collective tradition， its core both emphasized self-expression and the importance of self-emancipation。 The young artists count on western art in the premise of Western modern art。 While the participants and promoters of the New Waves Art Movement often emphasized on the power of the collective in order to occupy cultural power， which was not much different from the occupation of hills in the labor revolutions。 In this movement of visual revolution， the Shanghai artists wondered on the peripheries， wondered about and did not engage。 Their inherent individualities were influenced to the history of modern Shanghainese culture。 The Shanghainese neither enjoys to form into cliques， nor do they like to ingratiate to the center， the artists loathe the narrative of Beijing-centrism， where the difference of these two cities are made obvious。
Sun Liang is a Shanghai artist of such type， a participant of the New Waves Art Movement， while remaining as an outsider。
He graduated from the Shanghai Light Industry Institute， Art and Design Department in 1982， where he endeavored in the study， creative practice and exploration of modern art。 With the works he has left behind， they can be generally divided into four genres。
The first is still objects。 Vases and flowers， as a continuation of drawing from his studies at the institute， while it is also apparent that Sun Liang was influence by the Post-impressionism。 His images are intense and fierce， the sense of light is liberally distributed as he emphasized on the contours， in preparation for his later works。
The second is landscape paintings。 Primarily of architectures， the artist uses rich colors and apparent textures in his works。 The works did not focus on spatial depth in the image， but compositional distribution， mostly using straightforward geometric forms， highlighting forms。 Some of the works were influenced by black cubism， painting the object into overlapping forms。
The third genre is portraits。 There are the realistic and the expressive， some pare painted figuratively， and some with simple lines。 It is as if Sun Liang does not enjoy painting figures， who does not seem to have to patience to depict his object。 It might be related to his background in design， as well as his playful and ever-changing nature
The fourth genre is his surrealist works。 His flickering sense of color， Miro’s romantic constructs of symbols， and Chagall’s imagination of figures are apparent in Sun Liang’s paintings。 Among them， fish， birds and owls are the types of premonitions， revealing the artist’s interests in exploring。
This is a period when Sun Liang explored his creative directions。 Other than his oil paintings， he has also made works of collage and experimented with abstract ink painting。 In 1988， he has initiated some Shanghai artists to make installations – performance The Last Supper。 These works， especially his works on canvas convey the uniqueness of his artistic sensibilities。 For instance， his composition， translucent and sharp transformations， however， these aspects are not integrated into a creative mode and artistic language。 At that time Sun Liang wondered through various spaces， lonely and hesitant， aloof and indecisive， as seen in his work such as，Wonderous Door， Projection， The Green Room，
The Red Room。
He needed an opportunity， a challenging objective while challenging himself。
II。 An Observer of the 89’ Movement
The 1989 political incident has had unimaginable impact on all young artists in China。 External pressure was felt immediately， The New Waves Movement in artistic practices came to a sudden halt。 The intermission of the movement allowed those thoughtful artists to re-examine their creative impulses。 For Sun Liang， the intense psychological impact gave him insomnia。 Vital forces transformed into death， the figures became skeletons。 His images suddenly became focused and articulated。 If we were to compare his paintings from 1988， we would realize that 1989 marked a breakpoint in Sun Liang’s artistic practice。 As a genuine artist， he could not avoid the sorrow in his heart。
For about three years， Sun Liang was immersed in stressful and desperate mood， he felt bewildered， absurd and confused with everything around him。 His paintings became more bizarre， there were marriage of death， compelling chess games， the world in the eye of a fly， the dead yet moving centipede。 The skeleton was a primary icon of this period， seen in many paintings。 As a symbol of death， Sun Liang’s paintings depict either the blood of terror， or ferocious laugh， often with the fallen or falling skull， whose commemoration of the death of an era and of history is deeply ingrained。 He appropriated the jingweibird found in Chinese legends， the Icarus， Ophelia， and Jesus Christ in Western cultural stories to express his mourning of death and disasters。 While the Chinese art world was silent， evasive and forgotten those who were compromised， Sun Liang documented his psychological journey and others who shared his experience， with a number of grim artworks。
I first saw these works in the Garage exhibition in 1992。 That was a true underground art exhibition， located in the underground parking of a building on Yueyang road in Shanghai。 I remember at the opening of the exhibition， the metallic rolling gate of the garage slowly lifted， a line of participating artists unveiled to the audience from their feet to their heads， the atmosphere was solemn and respectful。 To have exhibited Sun Liang’s works in this exhibition， it has its unique commemorative meaning。
The hardships Chinese intellectuals have endured were rarely iterated comprehensively or in depth， the intellectual emancipation of the 1980s was only a short-lived honeymoon。 The rejection of the Cultural Revolution is marked by a point of contact between the top and bottom regardless of their interests。 Yet， the intellectuals’ reflection and criticism on historical depth were quickly considered as rebellion against those in power。 The halt of intellectual engagement in 1989 came suddenly and vehemently， those intellectuals who have just gathered have yet prepared themselves mentally， absconding， fleeing， isolation， and mostly collapsed。 The Bed of Marriage， Through the Wedding Ring and other works concerning the death of marriage or the dead marriage are symbolic of history。 The 1980s that was full of ideology and romance concluded， for Sun Liang， it was painful， desperate and absurd。 He could only confront the canvas as he lived through incessant insomnia。 From this time onwards， various figures invaded his canvas， the imposition of the external world on his mind became a mode of composition in Sun Liang’s paintings。
Yet， Sun Liang was not fearful， his imageries always presented an outward tension。 He painted the screaming mouth， the sticking of the tongue， the dilated pupil － in skulls， figures and animals。 His mix of lines， thick brushworks and dense colors allow the viewer to sense of anguish and contentious hatred。 The compartments in depth and sparse lighting， the figures dispersed on his images are perplexed， at loss， melancholic and sad， the dynamics and relationships flow in space independently。
If these paintings would be shown years later， I believe they would generate different meanings。 History cannot be forgotten。 Our reiteration of history does not necessarily consist of factual documentations， for the psychology of the mind， perhaps the memories of spiritual wound is more important。
III。 Sleepwalker of Urban Culture
For 1989， due to external pressure， those in power had no choice but to weaken their strategy， at the same time， with the demand of economic development， the government continued its open policy to the West。 Advanced communication was becoming popularized in the cities and the countryside。 The populous has been striving for the rights and modes of free expression。
Having experienced the creative phase of the 1989， Sun Liang released his sentiments， in which he has also found a parameter of subjects and iconic characteristics。 After 1992， his painting style changed drastically， his imageries became light， thin and illusive， extracted from real senses， and entering into dreamlike scenarios。
This type of paintings continued for two decades。
The Chinese art world underwent drastic changes in the last two decades。 From stepping onto the international arena as the other to the capitalist market operations， from art stars to official systems， Sun Liang’s contemporaries transformed from the revolutionaries of yesteryear to the successful artists， who swim in business， official functions and fashion shows。 Although Sun Liang has participated in the exhibition Road to the East of the 45th Venice Biennale in 1993， while he was not one of the Chinese Pop artists that Olivo Bonito promoted。 He did not want to follow any trend， immersing himself in his dreamscapes unwilling to exit， by which to resist changing and boring world and the distasteful history。
Sun Liang had all sorts of dreams， they were deep， light， soft， wonders， drunken， lost， illusive， frigid， shattered and day dreams， living in a wicked world。 It is a world of spiders and toads， the caves of swimming snakes and starfish， where there is no shortage of fins and feathers， scale and shell， sharp paws， long beaks， preys and monsters， as well as feather man and cat woman。 Sun Liang observed them as if they happened in a glass bottle： where these spirituals were afloat as smokes， transforming into mysterious bodies； sometimes they dispersed as clouds， leaving their beautiful shadows behind – he captured his imaginations on his images， while painting his imaginations by which to become one with his imagination。
All of these imaginations are urban： sophisticated decorative characteristics， suitable for the hedonist consumption； artificial seductions suggest privacy in the night lives。 They are wonderful and appealing， while they are illusive and at loss。 The rapid development of Chinese urban areas as well as the surging course of urbanization has made all familiar cities bewildering。 Sun Liang did not depict the cities perse， or to represent the urban dwellers， while his illusive realms are filled with urban cultural atmosphere and flavors of life， projecting the sense of loss and wander in urban psyche。 Such unspeakable mood enshrouds every corner in cities throughout China， whether it is the crowded Pacific Plaza， or the freelancer populated Starbucks Coffee。 I think Sun Liang’s paintings can be place in various spaces in the city， malls， hotels， bars， teahouses and etc。， as the hustling urban life contrasts with its spiritual void， while in Sun Liang’s works， the void and passion is both an expression and a revelation。
Sun Liang was the first artist to depict the urban kitsch。 The Rococo art and new art of the 19th century familiar to Shanghai life， are not mal used into erupting urban luxury， bastardizeddecoration is ubiquitous。 Sun Liang is deeply affected by it， on the one hand he adopts this aspect into his paintings extracting the audacious and discard the kitsch， on the other hand using imagination on eroticism to satirize people desires beyond culture。 On Sun Liang’s sophisticated， aesthetically pleasing and decorative images， we experience a diverse and appealing post-modern cultural atmosphere。 Sun Liang is keen on integrating life with emotions， culture and context， history and individual relationships into his imageries。 The key is to incorporate the decorative to the contemporary painting。 Modern art has once categorized the decorative as the monster， while the decorative comes from society that comes from humanism， may project the historical transformations。 It is not the differentiation between the elitist urban taste or the populus， but resources that contemporary art may adapt。 The creativity Sun Liang has exemplified in this regard is the most outstanding in the Chinese art world。
IV。 Interventionist of Various Media
In Chinese contemporary art， the Shanghai artists pride on quality。 It is not only an exigence on creativity， but also on artistic language， their perspective on the relationship between material and sensibility is unique。 Sun Liang is most certainly a pro and a professional player。
He experimented with various painting materials and other materials， on canvas， paper， silk， fur， copper plate， celluloid， skin （tattoo） and etc。 His painting materials varied from oil paint， acrylic， ink， marker and even nail polish。 After 1999， while Sun Liang continues to paint， he experimented with a new medium every year。 He’s made sculptures， installations， video and furniture design。 No matter what and how he played， he hasn’t parted from his central practice。 He has maintained his command in his paintings。 The breakthrough and expansion of his boundaries undoubtedly allowed him to express his emotions， explore his potentials while maintaining creative vitality in a greater parameter。 Sun Liang’s confidence is shown in his release of innate nature and confronting challenges。 He sets obstacles for himself to text his ability of introspection。 To which， compare to those artists who tailors to others needs and observes the art market， Sun is more genuine， poised and true。 Unfortunately， in the Chinese art world， artists like Sun Liang are few， where opportunists are bountiful。
Sun Liang has had an exhibition of oil painting on skin， entitled， The Lost Sky。 His painting on leather did not only replace the material on which the works were painted。 Leather comes from animals， both its form and quality implies animal nature， providing a sense of the body in the material。 All of the birds and monsters under Sun Liang’s brush are not only integrated into reality， but also contrasting in gathering and departure。 The value of the leather and the sophistication of the image compliment each other， while contributes to urban aesthetics。 The irregular shape of the leather encourages for imagination on the image， bringing new possibilities for the decorative and installation of the artwork。 Equally， this effect is also found in Sun Liang’s works on silk。 The natural marriage between the lightness and the movement of the material came into a dreamlike image。 The translucent property of the silk coupled with rich colors， best projects the obscure light of the image。 Sun Liang often fully incorporates the exhibition scene， to render a particular spatial experience。 Over time， Sun Liang has always been infatuated with ink painting。 From his earlier period of abstract ink painting to the deformed birds and flowers in recent years， Sun Liang enjoys fluidity and natural dispersion of ink on paper。 He enjoys painting vignettes of the changing seasons， blossoms and fallen leaves， with sentimental words。 His images are refreshing and willful， light yet poised， by which to maintain his position of self-fulfillment and enjoyment。
Among Sun Liang’s artworks， his glass works are the most worth mentioning。 The transparency and exquisiteness of glass is the most suitable to his pursuit of imagination on of figures and forms。 While its qualities of rigidity and the fragility best translates Sun Liang’s revelation and irony on contemporary urban culture。 His command on color is refined and delicate， paired with glass or， particularly， crystal’s reflections， enriches and refreshes the artwork。 In the composition of the artworks， Sun Liang’s skills in design and his experience with painting， whether making works on containers， or figurative compositions， he can be willful and at ease with his practice。 As large as glass chair installation， as small as wine glasses， Sun Liang has infused the Bohemian – the spirit of the free wanderer and self-exile into his artworks。 The frigidity of the material and the vibrancy of the colors， the inclusivity of the containers and the outwardness of the figures， allow one to hear the singing of the sea monsters and the curse of the witch through their contrasting tension。 No wonder Sun Liang travels to the Czech Republic， homeland of the Bohemians， no wonder he loves the sacred cup that was once filled with blood – he cannot give up the freedom in his artistic spirit， neither could he forget the bloodshed and cruelty in attaining freedom。
When Sun Liang has integrated the desires and seduction of the city， the dreams and loss of the spirit， the uniqueness and wonders of art together， we are able to recognize a humble artist， he is nave， who makes art because of his passion； he is hardworking， who strives for perfection in his artworks； he is romantic， who refuse to be trendy in order to maintain individual freedom。 This is the kind of artist and person he is – if one were to write the history of art， Sun Liang is definitely not part of the mainstream： or the history of art compromises with him， or he has changed the course of art history。
March 9th， 2012
—End—
