文章Article

 

黄山|进度,来自虚拟世界的敌人



"黄山:'前世与今生一直从事插画绘图工作,认真负责,目前致力于研究图像如何影响人类命运。' 现居住在佛山。" 文/黄河


问:黄河

答:黄山

 


1. 请形容一下你的创作方向和兴趣?

我喜欢发现图像背后的动机,并找出它们对制作者和观者的影响。这些图像除了来自大家熟知的大众商业影视,也包括各类历史上出现过的物品的造型与纹样等。因此我的实验以视觉艺术为主,有时会用覆盖电子网络、街头艺术、行为、装置等创作方式。总的来说我偏向用轻松幽默的手法去探讨历史与人文类议题。


2. 你的出生地是目前的居住地(佛山市)吗?

出于经济原因我从出生地广州搬迁到佛山,这样离活跃圈更远了。作为商业旺地广州就业机会多,也制造了更多喧嚣。佛山安静得多,好处是有助于省钱和专心干活儿。


3. 你目前的创作和居住地有多大的关系?

跟广州相比,佛山的岭南传统文化更加活跃常见,而且保存得更完善。这也是相当吸引我的地方。现代人眼中的属于民间个体的艺术形式,在以前是官方策划的集体行为,所有看似仅有装饰功能的物品,在属于它们的年代却有着重要实用价值甚至是集体精神的凝聚物。这会促使我考虑,在数码时代,有没有属于现代的"民间艺术",可以代表着"能工巧匠的智慧结晶"?


4. 为什么会对"卡通"这样的视觉形式充满绘制的兴趣?这过程是如何形成的?

我们这一代尤其成长在商业影视发达地区的群体,"卡通"可以说是我们的精神粮食(或者精神污染)。优秀的卡通角色浓缩了真实的人类情绪表达,甚至复杂的情感。我喜欢看它们,也享受临摹它们,不过如果要求我按照严格商业标准进行卡通绘制,我通常会比较头痛。因为形成一套熟练的风格需要多年辛苦积累(向二次元画手与美漫风格敬礼);大众对风格的喜好说变就变,这对画手存在着无情的淘汰现象。画手从事越是受欢迎的商业风格,面临的竞争越激烈。但我在个人创作上不受"卡通"及有关风格的任何限制。


5. 可否介绍一下在游戏公司当"美工"的经历?

哈哈,这职位通称"美术",我们可以自嘲自己是美工,不过讨厌被称为"美工"。我曾经所在的是难得有双休的正规公司,工作形式有些像流水线,人际关系单纯;辞职两年后我依然会和前同事交流碰面,让人珍惜。具体的感受与经历在这次的作品《无生命体众生》 Inanimate Sattva中有描述。实际上这份工作比较艰苦。


6. 你怎样看待城市年轻的受雇者在行业中身不由己的现象?

之前和策展人蔡影茜交流时,她说跟北京上海的艺术家相比,广州的艺术家由于行业太小所以需要兼做一份全职工作,导致作品数量少且不成系统。这是非常残酷的现实,但我不打算绕过去,而是选择完全面对用于维生的职业。这是因为首先,我心中理想的"艺术"是真实的。然后,我对维生职业的态度也是尽可能负责而且尽量从中寻找(榨出)成就感。艺术多少与其它职业一样也是一个"工种",需要技能经验和收入。我不赞成让"艺术"与"工作"完全割裂。


7. 在从事游戏公司的美术工作后,你对"卡通"的认识有所改观吗?

成年前动画游戏是娱乐消费品,成年后它们是学习榜样、血汗结晶。不过现在我的工作不需要太多接触这个行业了,它们又成为娱乐消费品并进化成研究对象。


8. 可否说说你对市场化视觉风格的认识?

规律上讲,唯美而完整的风格最容易被大众接受。一些视觉风格经历了时间的考验留了下来,比如大家熟知的所谓日本萌系、美式科幻、法国文艺风、中国复古风等。我觉得一眼看上去就能被分门别类的视觉风格都是偏商业化和大众化的,而要掌握绘制任何一种风格都需要千锤百炼。


9. 你的创作是愤怒的吗?

我的卡巴拉生命灵数是1,进攻型的方式会很合适我,但我也没搞懂自己有没有尝试进攻型的创作。估计没有。长期的压抑生活估计也让我有些习惯了抑制情绪表达。很多艺术家按我理解是偏愤怒型,他们的作品充满了力量,比如阿岱尔·阿德斯梅。音乐取向上我很喜欢思维直接的老朋克与金属,这有些像潜意识上的发泄。


10. 最希望他人了解你哪个/哪些作品?

这次的《无生命体众生Inanimate Sattva》和之前创作的电子护身符系列。


 


电脑听话符,gif,750×1334pix,2016

调教你电脑

每天运转好

工作效率高

 


顶天立地女子符,gif,750×1334pix,2016

Xx染色体赐你力量!

 


化石沉睡符,数码图片,1200×829pix,2016

治疗失眠,让您沉睡如化石

 


讨薪神兽符,gif,750×1334pix,2016

欠薪必须严惩!

权益合法保证!

萌又猛神兽狠!

召唤有关部门!

(注释:神兽品种:獬豸)

 


准时下班符,数码图片,750×1334pix,2016

从不加班

准时下班

历史时刻

永远定格


 


11. 如果可能,你希望向观看你作品的人提出哪些问题?

几年前有几个熟人知道我在进行象素画项目时,脱口说了一句"画这种岂不很简单?"这个问题一般出自业余人士和消费者。我告诉他们,不是的,每一个方块的位置与色彩都非常讲究,而且得用极为有限的位置与色彩去表达每个角色与道具的造型与材质,错一只方块都得修改。其中一个道具我一天内修改了大概有10次,当时耐心达到临界点了几乎不顾形象地怒敲快捷键。那段时间尽管我忙着搬家,家人在打包行李时,我仍然无法离开电脑,因为得赶项目的进度。如果我希望提出一个问题,我会问观众:"你知道画一个能见人的东西,无论是人物道具还是场景,背后需要画师付出多少年的积累和多少小时的心血吗?" 



_______________________________________



Rate of Progress, the Enemy from the Virtual World



"Huang Shan: 'I have been in the illustration industry from my last life to the present. Diligent and conscientious, I have now committed myself to the study on how images affect the destiny of human beings.' Lives in Foshan, Guangzhou." Text / Huang He


Q: Huang He

A: Huang Shan



Q1: Describe a little bit about the focus of your artistic creation and interests, please.

A: I'm interested in uncovering the motives behind images, and locating the influence they have on their makers and viewers. Such images come from not only the well-known popular commercial TV shows and films, but also shapes and decorative patterns found in various kinds of historical articles. Consequently, my experiments mainly focus on visual arts, sometimes covering electrical network, street arts, performance, installations and etc. All in all, I prefer adopting a relaxing and humorous approach to probe into historical and humanistic issues.


Q2: Is your birthplace also your current residency (Foshan)?

Q: Out of financial reasons, I moved from my birthplace, Guangzhou, to Foshan. In this way, I became further away from my active social circle. Guangzhou, a city of thriving economy, creates tremendous job opportunities, at the same time, more hustle and bustle. By comparison, Foshan is much quieter, the benefits of which are money-saving and better concentration on work.


Q3: How are your recent art works related to where you live?

A: Compared with the situation in Guangzhou, the traditional culture of the Lingnan territories is more dynamic and widespread in Foshan, also much better preserved, which I find extremely fascinating. Art forms, regarded as civil and individualistic by modern people, were in fact collective behaviors under official planning. All the articles, however seemingly purely decorative, were actually the results of collective spirit and of vital practical value in their times. It makes me wonder: Is there any modern "civil arts" in such an digital age that can be valued as the symbol of "the wisdom of skilled craftsmen".


Q4: Why are you interested in "cartoon", a visual art form full of drafting and drawing? How did this happen?

A: For our generation, especially those who grew up in regions where the film and TV industries have highly developed, "cartoon" is the food for our souls (or pollution to our souls). Good cartoon characters are the embodiment of authentic human emotions, and even complicated feelings. I enjoy watching and copying them. However, it'd be quite a problem for me if I was asked to draw cartoons following the strict commercial standards. It takes years of hard work and accumulation before one can develop his/her own sophisticated style (hats off to those anime painters and the American comic style). The general public's preferences to styles often change overnight, as a result, painters could easily and ruthlessly become obsolete. The more popular commercial styles they pursue, the more cut-throat competitions they'd confront. As for me, I am under no restraints of any cartoons or their styles.


Q5: Would you please tell us about your experience as an "art designer" in the game company?

A: Haha. The job is generally known as the "art designer". We can mock ourselves as "art designers", but we hate to be named so. The company I worked in was a formal corporation with the uncommon weekend holiday policy. Working there was somehow just like working on the assembly line, with simple interpersonal relations. Even two years after I quit my job, I'd still hand out with my former colleagues, which is cherishable indeed. As for my specific feelings and experience related with this job, you can find them in Inanimate Sattva. Actually, it was a hard job.


Q6: What is your view on the fact that young employees in cities have to do things against their will in the job market?

A: I once had a conversation with Nikita Chou (Cai Yingqian), a curator, who said that compared with artists in Shanghai and Beijing, artists in Guangzhou have to take up a full-time job due to the tiny art market, consequently, the numbers of their art works are small and unsystematic. It's an extremely cruel reality, but I am not going to work around it. Instead, I'd work at it by getting a job that supports my life. The reasons for me to do so are, firstly, the ideal form of "art" in my mind is real. Secondly, my attitude towards a life-supporting job is I should be fully responsible to it, and then try to find out (squeeze out) a sense of achievement out of it. To some degree, just like any other occupations, art is also a form of "work" which requires skills, experience and income. I don't approve of the idea that "art" should be totally separated from "work".


Q7: After working as an art designer in the game company, have you changed your understanding on "cartoon"?

A: Before I reached my adulthood, animation and games were recreational consumer goods to me. A grown-up now, I'd look at them as role models and fruits of diligence and wisdom. My job right now doesn't involve too much of the cartoon industry, therefore, they have again become recreational consumer goods, and evolved into objects of study.


Q8: Can you talk about your understanding on the marketized visual style?

A: According to the regular patterns, the aesthetically-pleasing and complete style is most easily accepted by the public. There are certain visual styles that have withstood the scrutiny of time and survived, such as the well-known so-called Japanese Cutie style, American Si-fi style, French Literary style, Chinese Retro style, and so on. From my perspective, any visual style that can be categorized at first sight is commercialized and popularized. In order to master a skilled style, one must undergo severe training and hammering.


Q9: Are your works angry?

A: My Kabbalah Numerology reading is 1. The offensive style suits me well, yet I have never quite figured out whether I have tried any offensive creation or not. Probably not. Having lived a depressed life over a long time, I have somehow got used to suppressing my emotions. According to my understanding, a lot of artists are more of the angry type. Their works are full of power, such as A. Abdessemed. As for my musical preferences, I love the straight-thinking old-school punk and metal, which is like a subconscious way to vent my emotions.


Q10: Which piece(s) of works of yours do you want others to know of most?

A: Inanimate Sattva from this exhibition and the Electronic Amulets series from my previous works.


 


Digital Amulet-Be an obedient computer, gif 750×1334pix, 2016

You could save this picture in your computer or mobile as digital amulet. 

It can ensure your computer work well and never break down.

 


Digital Amulet-Be a stand-up woman, gif, 750×1334pix, 2016

In this digital amulet, the Xx chromosome could empower you to be a powerful woman!

 


Digital Amulet- sleep like fossil, digital image, 1200×829pix, 2016

It can cure insommia and make you sleep like fossile.

 


Digital Amulet-Back Pay Will Be Awarded Easily! , gif, 750×1334pix, 2016

This digital amulet can ensure that your back pay could be awarded easily.

Since this Mythical Animal can summon related departments to solve your problem.

 


Digital Amulet-Get off work on time, digital image, 1200×829pix, 2016

You could save this picture in your computer or mobile as digital amulet. 

It can ensure you get off work on time and never work overtime

 


Q11: If possible, what questions would you like to raise to your audience?

A: Few years back, when several acquaintances found out that I was working on a pixel painting project, they popped out, "Isn't it too simple to draw such paintings?" This is the kind of question usually raised by amateurs and consumers. I told them, "Not at all. Every pixel must be well-placed and carefully-colored. Besides, I have to make the best of the limited space and colors to demonstrate the shapes, materials, and textures of each role and prop. No mistake is allowed in the pixels". I fixed one of the props almost 10 times in a day. At that moment, I was so nearly out of my patience that I kept striking the shortcut key angrily, paying no attention to my self-image at all. At that time, I was busy moving to a new house. While my family were packing, I just couldn't leave my computer because I had to catch up with the rate of progress. If there's any question I'd like to raise, I'd ask my audience this, " Do you have any idea the years of hard work and hours of efforts a painter has to pay to finish a presentable work, be it a character prop or setting?"



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本次展出作品 Works on exhibiting




无生命体众生,录像 (7'46"),装置

Inanimate Sattva, video (7'46"), installation

2017

 


传统民间视觉图像代表着某种集体精神的缩影。在数码时代的民间视觉形式——游戏美术背后,娱乐市场发展、劳动力剥削等问题反映在生产者(美术设计师)的个人经历中。游戏美术里各类栩栩如生的无生命体卡通角色,它们人造的生命力输送自劳动者自身。卡通角色越生动,美术设计师的业余时间越少、健康状况越退化。我通过回顾的方式,如实陈述了以前的一次工作经历。

To some extent, traditional folk imagery reflects collective consciousness. Nowadays, people are used to digital images. Behind the scenes of art in games, the personal experiences of the designers, their development in the entertainment industry and the exploitation of their labor during that process, shine through. The artificial liveliness of cartoon characters is squeezed from their producers. The more lively cartoon characters are, the less personal time that CG designers have and the worse their overall health conditions are. This statement reflects my own past working experience.

 


黄山生于1985年,生活工作于广州,长期关注图像的心理暗示意义在文化中的现象。她的艺术实验以视觉艺术为主,同时覆盖电子、概念团体、街头、行为、装置等创作方式,常以幽默的现代手法叠加历史与人文类议题。 

Huang Shan (b. 1985) lives and works in Guangzhou. She has been focusing on how image affect psychological hint for years. Huang's practice mainly concentrating on visual art, at the meanwhile including digital art, conceptual group, street art, performance, installation. She likes to discuss historical and cultural issue in a humorous and modern way.