无  界

——沈俊杰的实验田

王 晨

沈俊杰说自己五十多了，有点得意，意思是他不年青了，可是还很年轻。的确，老沈的心态和神态，大概一直停留在他打算画画的那个时候。那一年他三十九，从部队退役当了几年公差后，默默辞职。之后做过很多事，在北京做装修，在宋庄画油画，在苏州经营美术馆，但核心是职业画家。老沈这才安心了，这后半辈子就奉献给了艺术。

所以他大多数时候看起来安详，笑容憨厚，也人情通达。手指缝里全是油墨，但眼神里有种就算某天一无所有也不缺从头再来的勇气。这样的人，没有大问题，只有画面的一个微妙变化会让他牵肠挂肚，人倒干净和简单起来。

老沈画油画入手，但水墨感觉极好，没有幼功，也没有包袱，少了所谓文化和精神层面的东西，水墨就是一个表现自我的媒介。有些偶得的因素，却也浑然天成。如香山里美术馆门口，挂着他的两个大字，围城。半文半图，老沈一脚跨过有关当代水墨的诸多讨论，穿过传统和血脉来到某种境地，半是侥幸半是修行。

而后，老沈少了羁绊，大开眼界，所有的材质，只要适合，都成了他作品的材料，他尝试各种组合和可能性。一些早年的油画，跟早年的经历一样，都拿来垫底，覆之以油彩、丙烯、水墨、泥巴、棉麻、大漆……少年时在乡村的经历让他更自然的贴近大地厚重的质感，山川沟壑尚面目模糊，但画面结实，全是老沈心底的洪荒之力。

他像一个真正的年轻人一样充满激情，专心、努力、折腾。何况他还当过兵，就算没有打过仗，内心也有场战役。生活的印记，迟早都会回来。老沈目前的作品都还在静止和基本平面的状态，很难预料再过些年的形状。只可以想见，再磨几年，他之后的作品会跟他这个人有种更为深入的默契跟和谐。材料的交互交错交织，最终也是一种人到中年的内心纠结和五味杂陈。某天，每个人都要问问自己，我是谁，我从哪里来，我要去那里。再有空，就想想物质的实在和精神的虚无，生命的短暂和时间的永恒，个体的有限与宇宙的浩渺……

我们都时常迷茫，苦于上下左右而求索。眼前世界那么纷乱，心里东西那么多，老沈也说自己迷路了。我安慰他，人在迷路的时候，走的都是自己该走的路。

Boundlessness                                                         
- Shen Junjie’s Experimental Field                                 
Wang Chen    
Shen Junjie said he felt a bit proud as he was just over fifty， which implies he is not physically young but still mentally young. Indeed， his attitude and demeanor has probably stayed in the period when he was intended to start the painting. He was thirty-nine that year， and quietly resigned after serving for several years of public errand since his retirement from the army. Later， he managed to get engaged in lot of businesses， which ranged from the decoration in Beijing， oil painting in Songzhuang， and running the art gallery in Suzhou； yet the core was acting as the professional painter. Mr. Shen was relieved then， and dedicated his rest of life to the arts.    Admittedly， he looks serene， understands human feelings and has a simple and honest smile for most of the time. Though his finger seams are full of oil ink， his eyes suggest a kind of courage that he would still start from scratch even if he lost everything someday. No big problems can be picked out for such a person； however， even a subtle change in the picture would make him extremely worried about， but he himself would become clean and simple instead.    Mr. Shen started from oil painting， but he had a talent when he began the Chinese ink painting. Without the skilled obtained from childhood and burden， as well as the so-called factors from cultural and spiritual spheres， ink painting is a medium of self-expression for him. With even some factors obtained accidentally， they could still be naturally combined. Just as his works - two big characters of “Fortress Besieged” were on the gate at Xiangshanli Art Gallery， Mr. Shen’s works were mixed with text and paintings， in which he skipped numerous theoretic chapters on contemporary ink painting and came to certain level beyond the tradition and blood linkage. Thus， his achievement could be described as mixed with luck and practice.    After that， Mr. Shen was relieved from the fetters， and broadened his horizon. Whatever suitable materials have become the materials of his works， from which he attempted various combinations and possibilities. Some old oil paintings， just as the earlier experiences， were used as the base， and then covered with loads of painting elements including oil paint， propylene， ink， mud， cotton and linen， lacquer， etc. His experience in the countryside in the teenager’s period made him become more naturally close to the thick and massive texture of the earth. Despite the blurred landscape and ravines， the paining is solemn and powerful， which fully embodies his primitive power from the bottom of his heart.    He is full of passion just as a real young man who is attentive， studious and assiduous. Moreover， he was once a soldier； even if he has not really fought on the battle， his heart does have. The imprints of life would come back sooner or later. At present， Mr. Shen’s works are still in the state of still and base plane， and it is difficult to predict what it would be in a few more years. What we could imagine is after several years， his works then would have a further in-depth understanding and harmony with him. The interaction and interweaving of the materials would eventually turn into a status of inner entanglement and mixed emotions of a middle-aged person. One day， each one of us would ask ourselves - who am I， where do I come from， and where am I going. Furthermore， we could think about the material reality and spiritual emptiness， transience of life and eternity of time， limitedness of individuals and the boundlessness of universe …