<p>My "Meditation" series of printmaking works probably started in 1989, Which was my senior year at Harbin Normal University. It has been about thirty years since then.</p> <p>The printing tools I used constantly were: Printing plates that are idle or discarded by printing factories, wooden characters and various graphic symbols; wooden boards, rubber, and traditional Chinese seals that are carved on stones; engravings of old woodblock prints made hundreds of years ago; and many other ready-made products such as plastics, metals, glass, cotton fabrics, etc.</p> <p>In terms of my creation technique, it can be roughly divided into two parts:</p><p>The first part is hand stamping, that is, the method of one-hand stamping and two-hand imprinting. This idea comes from movable type printing in ancient China thousands of years ago. The characters or pottery characters are hand-printed onto clay pottery and handmade paper.</p><p>My works also combined with some techniques of utilizing copperplate printing machines, lithograph printing machines, and hot pressing and hot stamping equipment. During the past two years in school, I have also used a lot of silkscreen printing. All these techniques enriched the expression of my works.</p> <p>Compared to traditional prints that have fixed different color plates and relatively fixed numbers of prints, my printmaking works have the characteristics of high-density image aggregation and infinitely various colors. Each piece of my work is a monoprint.</p><p><br></p> <p>The second part is hand-paint, mainly using traditional Chinese painting tools and materials: brushes, ink, mineral pigments, and then also using a combination of watercolor paints and acrylic paints.</p> <p>Compared with the traditional printmaking works, my printmaking is mixed with scattered handprints and multiple printing methods. I print the text and images first, then draw the color part, and then print the texts and images, and finally continue to draw color. Such techniques enabled the complexity of multiple overlaps of image and color. I think this process and technique are unique because it broke the definition of traditional printmaking concepts and many specific norms, which enabled a new look of printmaking.</p> <p>Most of my printmaking works are composed of countless small texts, small graphic symbols, and other forms of media carrying information. The content of the picture is complicated and rich in color, a bit like the so-called "extreme doctrine". The works intentionally show no clear main image, and they overall have a very simple abstract style. The presentation of a mixed abstract and figurative, simple and complex, came from my aesthetic concept, my undisputed thinking, and my pursuit of world peace.</p> <p>我給我的藝術創(chuàng)作命名為“禪說”</p><p>從材料上區(qū)分主要由兩大部分組成，分別都是持續(xù)創(chuàng)作了二三十年的系列作品：一個是平面的版畫作品，另一個是立體的裝置作品。</p><p>另外，我也剛剛開始了“禪說”系列作品的影像創(chuàng)作，算是第三個部分。</p><p>在經(jīng)過多年的創(chuàng)作之后，尤其是最近兩年在學校的學習和創(chuàng)作中，我漸漸搞清楚了自己的藝術創(chuàng)作，實際上就是我的人生禪修。</p><p>我在不斷重復勞作的過程中，所創(chuàng)作出來的版畫和裝置作品，也包括我的影像作品，事實上是我進行人生禪修時的生成物質。</p> <p>我的“禪說”系列版畫創(chuàng)作，大概開始于一九八九年，那是在我大學本科的最后一年，至今大約是三十年時間。</p> <p>在印制工具的選擇上時有不同，但基本上是使用：印刷廠閑置或廢棄的鉛字、木字和各種圖形符號的印版；自己刻制的木板、橡皮、傳統(tǒng)中國畫使用的那種石頭篆刻章；幾百年前的老木版年畫的刻版；也還有很多其他現(xiàn)成品如塑料、金屬、玻璃、棉織品等。</p> <p>在制作方法上，大體可以分成兩個部分：</p><p>第一部分是散版式的手印，也就是單手蓋章和雙手壓印的方法為主，這個主意來自于千年前中國古代的活字印刷術，那時候還沒有印刷機器，只是很簡陋的手工制作木字或陶字，手印到陶土器皿上和手工紙上。</p><p>我的創(chuàng)作還結合部分地方使用銅版畫印刷機、石版畫印刷機和熱壓燙印等設備綜合在一起的方法印制我的版畫作品。最近這兩年也大量的使用絲網(wǎng)版畫設備，將印制絲網(wǎng)版畫的方法用于我的散版版畫上，用多種不同的技術手段來豐富我的作品的表現(xiàn)手段。</p><p>相比較有著固定的不同色版和相對固定印數(shù)的傳統(tǒng)版畫，我的這種散版版畫，有著高密度的圖像匯聚和無窮多色彩呈現(xiàn)的特點，每件作品也都無法復制，都是獨幅。</p> <p>第二部分是手繪，主要使用中國傳統(tǒng)繪畫工具材料：毛筆、墨汁和礦物質顏料，然后也結合使用水彩畫顏料、丙烯顏料等。</p> <p>相比較正規(guī)、常見的傳統(tǒng)版畫作品，我的版畫由于有繪畫成分結合散版手印、還有多版種方法混合使用，尤其是我的先印文字、圖像而后畫色彩部分，然后再印文字、圖像，最后再繼續(xù)畫色彩這樣的反復交叉的技術手段，畫面呈現(xiàn)的是圖像和色彩的多次重疊。打破了傳統(tǒng)版畫概念的界定和很多具體的規(guī)范，成為一種新面貌的版畫。</p><p>大多數(shù)我的版畫作品是由無數(shù)的小文字、小圖形符號等信息組成，畫面內容紛繁復雜、色彩豐富，有點像所謂的“極多主義”，但是畫面沒有明顯的主體形象，看起來是整體上很簡潔的抽象風格。畫面中的抽象和具象、簡單和復雜共同呈現(xiàn)出我的審美觀念、我的與世無爭的中庸之道和我對于世界和平的美好追求。</p> <p>www.zhengxuewuart.com</p><p>zhengxuewuart@gmail.com</p> <p>使用我自己的裝置作品進行照相制版，來制作絲網(wǎng)版畫作品。</p><p>將這件絲網(wǎng)版畫與裝置作品共同合并成為一件“版畫裝置作品”，這是我打破藝術種類既定界限所進行的研究之一。</p> <p>XUEWU ZHENG </p><p>鄭學武短簡歷</p><p>Xuewu Zheng born in Heilongjiang Province, China, received his BFA in Harbin Normal University in China, and MFA in SUNY New Paltz Printmaking in the United States.</p><p>His work has been included in numerous group exhibitions throughout Asia, Europe, Australia and United States. He was a Visiting Professor at: Harbin Normal University, China; Appalachian State University; North Carolina University at Chapel Hill; Columbia University; Vassar College; University College Cork, Ireland. He attended following international residencies: Vermont Studio Center; Frans Masereel Centrum, Belgium; Gwangju Art Museum, Korea; Jingdezhen Sanbao International Center, China; Nebraska Art Farm</p><p>Xuewu’s work is part of Selected Collections: National Art Museum of China; Kaethe Kollwitz-Museum-Berlin, Germany; Australian Embassy, China; Woo Jae-Gil Art Museum, Korea; Ackland Art Museum, Guilford College, The Turchin Center for Visual Arts( United States; Gwangju Art Museum, Korea.</p><p>鄭學武</p><p>職業(yè)藝術家/國際藝術策展人</p><p>六十年代出生于黑龍江農(nóng)墾建設兵團，先后修學業(yè)于哈爾濱師范大學藝術學院美術系、中央工藝美術學院裝飾繪畫系、紐約州立大學美術學院版畫系。美國阿巴拉契亞州立大學、美國北卡羅來納大學的客座教授；美國哥倫比亞大學、帕森斯學院、瓦薩學院及愛爾蘭科克大學的訪問學者。是美國弗蒙特藝術中心、比利時馬瑟瑞爾藝術中心和韓國光州市立美術館的國際駐訪項目藝術家。</p><p>版畫和裝置作品參加過亞洲、歐洲、澳大利亞和美國的眾多展覽。</p><p>重要收藏：中國美術館、德國科勒惠支博物館、韓國光州市立美術館、美國阿克蘭博物館及芝加哥大學博物館等。</p>