严隐鸿 球池 反面正面和黑暗中 220x550cm 2006年
严隐鸿对水墨语言的运用早在中国美院学习期间就显露出一种大手笔的端倪。对结构的理解、对形体的敏感、对画面整体节奏的把握,以及作品中独特的女性视角,不拘一格、大胆泼辣的风格和巨构式的大制作,都超越了作为一个女性的襟怀。
新作《儿童乐园》系列作品中,严隐鸿用灿烂的色彩创造出一种类似游乐场的欢快氛围,孩子在彩球的包围中尽情跳跃,而包围儿童的彩球象征着一种幸福感和安全感,画面中儿童投向观者的目光严肃而深邃,发人深省。其中一些是深刻影响人类命运人物的童年,每个人的童年都是母亲的心肝宝贝,母亲都曾提心吊胆、担惊受怕。我们看到的是艺术家发自心底的震颤,这个令人不安的世界无时无刻不在威胁着无辜儿童弱小的生命。人类的多舛命途藉助于一个母性的视角得以展示,揭示了人类母亲灵魂深处的隐忧,而对人类终极问题的关注,更升华为一种普遍而深刻的人道情怀。艺术家先用水墨在画布上起稿,然后再用油彩完成。正面,墨色被保留出的部分和油彩有机地统一于画面之中；而最初的水墨渗透过画布自然保留在反面,形成水墨作品,产生新的对比。作者为实现要表达的主题,在媒介材料上从来不拘一格、不择手段,她隐藏使用了夜光材料,黑暗中画面有如星空,令观者浮想联翩,引向记忆中的孩提时代。
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By Jia Fangzhou
Her genius shows as early as when Yan Yinhong was studying at China Academy of Fine Arts, so subtle in structure, body, arrangement and rhythm of image. Moreover we may see unique female sense in her work that is bold and magnificent, sometimes beyond a mind as a female.
In her current pieces Children’s Garden series, children are feeling so happy and joyful in a big number of colorful balloons, upon them casted serious sights from aside, which is significance. I believe that every one goes a way just from mode shaped in his /her childhood, so touchable and discomforting mode that is touching heart of every more, fear, thinking every moment, and tremulant, for those tender lives of human creature. This is to say, from angle of a more, human fate fears are collected in painter’s works, an internal consideration. Her first draft on canvas and then draws with colors, ink and oil color can be in a fine line in front and in back is natural infiltration of Ink, a sharp contrast. The painter seems caring nothing of what material she used, and she even used noctilucence material to present night sky decorated with stars to suggest childhood age.
【编辑：姚丹】
