赵力
Eyes enjoying loneliness in darkness by Zhao Li
第一次见到彭建忠，是在2005年重庆川美校内他个人的工作室中。当时冯建忠的工作室是在二楼，面积不大，室内早就被作品塞得满满的，显示了画家的勤奋而不倦。但画家却还是专门留出一面白墙来展示自己的新作，这是内向而腼腆的画家以此向外界传达的个人方式，而这种方式看来是有效的，因为当时的我就因为受到了感动并推荐他参加了一个当年年底在广州举办的群展。
It was in his personal art studio in Sichuan Fine Arts School of Chongqing in the year of 2005 that I first met Peng Jianzhong. At that time, his art studio was located on the second floor, which was of not quite large space and was already crammed with his works. All this showed that Peng Jianzhong was diligent and inexhaustible as an artist. Despite of the small space, yet this artist had still left a white wall specially for displaying his new works. This was the personal way of an introverted and quite artist to communicate his feelings to the outside world, which, however, turned out to be an effective way. That well accounted for the fact that I was moved at that time so that I recommended him to take part in an art collective exhibition, which was held in Guangzhou at the end of the same year.
从表面上看彭建忠的画与他的性格一样是内向而腼腆的，他的题材不是那种对社会t性的直接描述，他的画面也不是对符号性的肆意张扬，他的画更像是沉浸于池底而后慢慢浮现出来的那种样子——缓慢的，而隐约的，而飘移的……，对应的也是某种人们内心深处的情绪挣扎——多变的，而有意识的，而潜意识的……。
Seen from the appearance, Peng Jianzhong’s paintings are the same as his character, which is introverted and quiet. His subject matter is not that kind of direct description of the society, and his picture is no willful publicizing of symbols, but rather like a picture of something immersed rising slowly from the bottom of a pool and finally emerging from the surface——slow, vague and drifty……, which corresponds to a certain of emotional struggle in the dim recess of human mind——variable, conscious and subconscious …….
彭建忠的很多作品或许都给人某种身处黑暗的感觉，因为他的色调是沉郁的，而整个画面背景都以近乎黑色的颜彩来处理。虽然依旧保持着某种景深，而这种景深在具体的表现上是有限的、被控制的，但是在情绪上却得到了无限的暗示而成为了独立发展的部分。事实是冯建忠有目的地渲染出的正是弥漫在当下人心中的那种无名的焦虑，以及在焦虑压力之下所产生的心理变形。正如西方的某位哲人所言，“现实的黑暗并不可怕，可怕的是人们的内心为黑暗所包围。”
Quite many of the works by Peng Jianzhong may generally give people a certain feeling of being placed into darkness because the colors and tones of his works are gloomy and depressing and the whole background of the pictures is made with the processed paint of nearly black color. Although some kind of depth of field is still maintained, which is limited and being controlled in its concrete embodiment, yet this depth of field has become a part which is able to develop itself independently by gaining limitless emotional hints. In fact, what Peng Jianzhong is trying to do is to play up purposefully the nameless anxiety with which the heart of people of the day is exactly permeated and as well as the deformed psychology which comes into being under the pressure as a result of this anxiety. Just as some philosopher from the western world says “the darkness in reality is not fearful and what is really formidable is that fact that the heart of people is surrounded with darkness.”
同样是有目的地渲染方式，彭建忠也最终确定用“孩子”的形象来加以强化。“孩子”无疑是具有特殊意义的对象，孩子的“纯真”会让所有的“压力”演化为肆无忌惮的侵害，孩子的“弱小”也会令任何的“黑暗”表现为毋庸置疑的无助。在创作中彭建忠不仅将有关“孩子”的形象加以不断确立而强化，更使之逐渐在画面上形成了某种的张力。张力的基础是针对于“侵害”与“无助”的心理救赎，而这也是彭建忠作为艺术家的个人“拯救计划”。
Peng Jianzhong finally made a decision to make use of the image of “children” to enforce the same purposeful manner of playing up the anxiety and the deformed psychology. Without doubt, “children” are the object with special meaning, with whose “naivety” all types of “pressure” may develop into unscrupulous invasion and with whose “smallness and weakness” any kind of “darkness” may be turned into doubtless helplessness. During the course of creation, what Peng Jianzhong has been trying to do is not only to establish the image of “children” and make constant enforcement, but also to turn the image little by little into certain kind of tension in the picture. The basis of this tension is the psychological salvation of “invasion” and “helplessness”, which, at the same time, is also the personal “salvation plan” of Peng Jianzhong as an artist.
当然，彭建忠也希望通过自己的作品与他的艺术欣赏者一起共同承担起这一“拯救”，并试图将个人性“拯救”最终发展成为针对人类心灵拯救的“希望工程。”彭建忠以“孩子”的眸光来强烈地传达出对“希望”的那种希望，画面中的“孩子”都具有一双超过常人的大眼睛，而这一形象即便可以从西方现代艺术大师那里找到某些的原型——譬如挪威艺术家蒙克的作品，只是这些原型更多地表现为神经质的甚至是癫狂的状态，最终成为个人情感肆意宣泄的表达方式，然而彭建忠显然并不想仅此而已，他有意识地针对于个人情感而加以控制，有意识地针对于人物而增加了叙述性的成分，而他的绘画手法在吸收了表现主义的有机养分的同时，又没有完全被表现主义所局限，显示出其绘画语言的开放度。
Of course, Peng Jianzhong hopes to share and undertake this task of “salvation” with the viewers of his works through his works, and what’s more, hopes to make an attempt to develop the individual “salvation” ultimately into “hope project” which takes the salvation of human heart as its target. Peng Jianzhong makes use of the eyes of “children” to communicate his strong desire for “hope”. All the “children” in the pictures of his works have the usually big eyes, bigger than ordinary people. Even although we may find the prototypes of its image from the modern western art master——such as the works by Monk, an artist from Norway, most of which, however, simply embody the state of neuroticism or even mania and turn in the end into a expressing way to play up willfully personal feelings, yet Peng Jianzhong obviously does not only mean that. In addition, he consciously tries to keep personal feelings in his control and add narrative elements about the characters. While it is absorbing the organic nutrient from expressionism, his painting technique is not entirely restricted to expressionism and shows the degree of openness of his painting language.
在一些新近完成的作品中，彭建忠的创作又有了更多的进展和变化。一方面，“孩子”有了隶属于自己的环境背景，而不是像之前的人物形象仅仅是从“黑暗”中的某种浮现，这让作品拥有了自己的“语境”，也让观赏者拥有了释读作品的更多凭据，由此画面变得更加得复杂与丰富；一方面，“孩子”们除了睁大双眼的之外，还出现了闭目的形象，这一新的形象并非表示出彭建忠与他的欣赏者之间沟通交流的渠道关闭，却具有了某种“内省”的意涵，或许彭建忠已经从先前匆忙中的“拯救”，进而发展为针对人类自身危机处境的深层探究以及“拯救”本身的意义叩问。事实是“内省”般的表达往往要比“直接”式的传达更具有穿透力，而换句话来说，在彭建忠的画前，我们既能感受到“孩子”在黑暗中挣脱孤独的眸光，也能感受到彭建忠在黑暗中享受孤独的眸光。
In some of his latest works, Peng Jianzhong’s creation has made more progress and gained more change. One the one hand, “children” has the environment and background, which are specific to themselves. This is unlike the previous image, which is merely some kind of emergence from “darkness”. In this way, the works get their own “context” and offer the viewers more evidence to interpret his works, which leaves the picture all the more complex and rich. On the other hand, the image of “children” with closed eyes makes its appearance in the picture besides that of “children” with wide-opened eyes. This new image does not indicate that the communication channel between Peng Jianzhong and his viewers was stopped. One the contrary, it is endowed with the implication of some kind of “introspection”. Probably, Peng Jianzhong has switched from the previous hasty “salvation” to the deep exploration into the crisis situation of human beings themselves as well as inquiry into the meaning of “salvation” itself. The fact is that the “introspection” expression is more often than not of more penetrating force than the “direct” communication. In other words, when we stand before the paintings by Peng Jianzhong, we can not only feel the eyes of the “children” that try to escape from loneliness in darkness, but also can feel the eyes of Peng Jianzhong, which is able to enjoy loneliness in darkness.
【编辑：霍春常】
