蔡武平
个人简历：
1963年10月出生，毕业于江西师范大学，曾进修于中国美协和中央美院油画研修班，江西省美术家协会会员、江西省油画艺委会委员、月湖区美术馆馆长，现工作生活于江西鹰潭。展览：
2021.6 第三届大艺家夏季展-成都2020.12抽像当代艺术大展-郑州2020.10新概念艺术大展-兰州2020.7第二届大艺家夏季展-柳州阅甫美术馆2020.6较量-北京当代艺术展-北京2019夜宴一江西省写生学会提名展南昌2019首届【当代素描】艺术大展柳州2019威海艺博会主题展览之六一一＂启航100＂油画展威海2019＂启航100油画提名展＂青岛2019＂态一当代中国油画研究展”德国2018绘江南一一全国高等院校汇聚展昆山2018＂典藏＂当代油画名家作品展北京2014首届江西当代艺术展南昌2013江西省油画提名展南昌2011年人文江南——吾土吾民油画邀请展杭州发表：《美术文献》、《画院》、《当代油画》、《油画界》、《艺术品鉴》《2020中国新当代艺术图相》等
水墨是传统材质，喜欢是源于内心对其呈现的独特的审美以及其难以预测的趣味性的痴迷的本能。虽然是传统材质，但努力尝试的多是现代表达的实验探索，力图运用这传统的材质努力去呈现当下的思考。
About ink painting
Ink painting is a traditional material, and love is the inner instinct for its unique aesthetic and its unpredictable interest. Although it is a traditional material, most of the effort is the experimental exploration of modern expression, trying to use this traditional material to present the present thinking.
这个时代有太多的谎言，太多的浮躁，太多的忧虑，水墨是一个能让人静下来思考的东西，所以，总能吸引人乐此不疲。传统中国画讲究笔墨，进入当下语境，形式的追求已不是重点，重点应该是对当下的真实的叙述。叙述什么？什么才有叙述的价值，这才是值得认真思考的问题。艺术需要独立的人格，自由的精神，由此方能桀骜不驯，不受其他因素的束缚、胁持，方能有自我判断、独立思考、质疑一切的勇气。我们本就生来独一无二，自然也可以努力创造不同的东西留给这个社会，或许还可以影响未来。水墨，其实也仅仅就是一种材质，和众多材料一样，都是表述的媒介。我不想特别在意强调其本身的特性，我只想如何更好的利用这种媒介来传达我的内心，我一直在尝试。而且有瘾，欲罢不能。
There are too many lies in this era, too much impetuous, too much worry, ink painting is a thing that can calm people down to think about things, so, can always attract people never tired of it. Traditional Chinese painting pays attention to brush and ink, into the current context, the pursuit of form is not the , the should be the true narrative of the present. What is to describe? What is the value of narrative, this is the question worth serious thinking. Art requires independent personality and free spirit, which can be unruly and not bound by other factors, and can have the courage to self-judge, think independently and question everything. We are born unique, and we can naturally strive to create different things left to this society, and it may also affect the future. Ink painting, in fact, is just a kind of material, like many materials, are the medium of expression. I don't want to care particularly about emphasizing its own characteristics, I just want how to better use this medium to convey my heart, I've been trying. And addicted, can't stop.
我有多种类型的作品，但不会刻意去寻找题材，更多的是“灵光"的闪现，顺势而行。常规的观点认为，作品应该有一套系统的理论支撑，这是没什么问题，但并非必须如此。也大可以由评论家、史学家去完成。这或许更合理，更有开度。如果绘画本身表现的贫乏，说词再丰富，即使披上跨界混搭这类时髦外衣，或是把自己抬到哲学家、社会人文学家、批评家的至高高度，亦或把艺术功能极尽阔展，也都难以掩盖画面叙述的苍白。I have many types of works, but I will not deliberately find the theme, more is the flash of "spiritual light", follow the trend. The conventional view that the work should be supported by a systematic theoretical problem, but not must be. It can also be done by critics and historians. This may be more reasonable and more open. If the painting itself is poor and no matter how rich the words are, even with the fashion coat of crossover, or carry themselves to the highest height of philosophers, social astronomers, critics, or show their artistic functions, it is difficult to cover up the pale of the picture narrative.
绘画对其他领域、对社会、对现实谈不上研究，仅仅是体现关注而巳。牵强的拉扯些硩学、宗教、道、禅的一些基本常识来为绘画故弄悬虚毫无意义。我对绘画本体的审美、绘画性更感兴趣。何况绘画本身就有它丰富的叙述方式。以画家的身份、角色，对自己作品的学理层面的疏理其实有双面性。一方面，似乎可以让更多的人了解作者内心，理解作品的意义。体现的是一种所谓成熟的面貌。在大众群体中更多的被接受。以此有了复制的理由，可能名利双收，只是这不见得和艺术相关。另一方面，作者的阐述无异于说大白话。在绘画中，说白了真的好吗？其实不一定。这种确定性、效力性在很大层度上局限了绘画的表现的丰富性、多维性。绘画的魅力正在于它的摸糊性、不确定性。所以，从艺术的角度来说有可能得不尝失。Painting is not able to study other fields, society and reality, but only reflects the concern. It is meaningless to pull some basic knowledge of learning, religion, Taoism and Zen to make nonsense for painting. I am more interested in the aesthetic and painting nature of the painting ontology. Moreover, the painting itself has its rich way of narration. As the painter and the role, the theory of his work is actually double-sided. On the one hand, it seems to let more people can understand the author's heart and understand the meaning of the work. It reflects is a so-called mature appearance. More accepted in the mass community. With this reason for replication, there may be fame and wealth, but this is not necessarily related to art. On the other hand, the author's exposition is tantamount to speaking the vernacular. In the painting, is it really good to put it bluntly? Not necessarily, really. This certainty and validity limit the richness and multidimensional of the painting in large layers. The charm of painting is being reflected in its ambiguity and uncertainty. So, from an artistic perspective.
说到绘画的魅力在于其模糊性和不确定性，水墨正好具备了这样的特性。所以许多画家痴迷于此就不难理解了。水墨具有很丰富的独特的表现力。不同性情的人都可以有不同视觉呈现。也不知是不是因为我的敏感、焦虑，或是我内心审美偏好，我的作品似乎总是编向对各种忧虑的关注。也带有很浓的怀旧、伤感成份。我一直努力忠实于自己的内心，所以，也许并不是我的问题，这种真实的传达应该是这个时代的折射。When it comes to the charm of painting lies in its ambiguity and uncertainty, and ink painting just has such characteristics. So many painters are obsessed with this is not difficult to understand. Ink painting has a very rich and unique expression. People with different temperaments can have a different visual presentation. I wonder whether because of my sensitivity, anxiety, or my inner aesthetic preferences, my work always seems to on all kinds of concerns. Also with a very strong nostalgic, sad composition. I've always tried to be faithful to my heart, so, perhaps not my problem, this true communication should be a reflection of this era.
我喜欢那些斑驳的老墙、老房子，喜欢传统的延续带来的文化的丰富性，喜欢拥有良好的自然生态。然而，随着工业化、城市化，以及所谓乡村发展的一体化，把这丝本就无望的情感击的粉碎。我们在高速发展的同时似乎丢了灵魂！不知什么时侯我们来到了娱乐至死、金钱至上的时代。浮躁、冷漠，信仰缺失。环境、生存都面临危机，在这样的语境之下，艺术的问题似乎已经不重要了。艺术可以是精神的慰籍，其作用被夸大显而易见。当我隐隐感到虚华的背后涌动着毁灭时，碎片化几乎成了我作品的主要标识。我不在呼艺术不艺术的问题，绘画也就是一种表述方式，我只要真实表达就好。因为放弃所谓艺术高度的追求，我反而获得了表达的自由。自己是主宰，随心所欲，没有藩篱，想简单就简单，弄复杂就复杂。I like those mottled old walls and old houses, like the cultural richness brought by the continuation of the tradition, like to have a good natural ecology. However, with industrialization, urbanization, and the integration of so-called rural development, this hopeless emotional shock. We seem to lose our souls in our rapid development! I do not know when we came to the era of entertainment to death, money first. Imkle, indifferent, lack of faith. Environment, survival are facing crisis, in this context, the problem of art seems no longer important. Art can be a spiritual comfort, and its role is exaggerated. When I vaguely felt the destruction surging behind the vanity, fragmentation has almost become the main sign of my work. I am not calling the problem of art is not art, painting is also a way of expression, I as long as the real expression. Because I gave up the so-called artistic high pursuit, I got the freedom of expression. You is the master, whatever you want, no barriers, want simple is simple, complex is complex.
《百叶窗》纸本水墨47x70㎝年代：2017
这些作品有的我能说出具体的指向，有的我自己也说不清。说不清的其实我还是能感受到其中的特殊的意味，只是并不适合交流。这尽可以让观者自己去体会，与我无关。现在做这些作品的出发点已很简单，觉得有意思就行，不用考虑过多没实际意义的。纯粹、简单！这样挺好！即使这些作品甚至都不一定被认为是艺术，又有何妨！Some of these works I can tell the specific direction, some I can't tell myself. In fact, I can still feel the special meaning, but it is not suitable for communication. This all lets the viewer experience it himself, which has nothing to do with me. Now the starting point of doing these works is very simple, feel interesting, do not have to consider too much meaningless. Pure and simple! That's great! Even if these works aren't even necessarily considered art, what's wrong!
《塔》系列和《碎片》系列是我做的稍多些的题材。形式不同，但都是基于对自然、生命、文化的思考。塔是具像征意味的一种类似精神上的图腾的那种东西，人类文明的进程，离不开精神的信仰，人们为了精神的传承，修塔、建塔，以极为隆重的仪式来对待，其中凝聚了太多的美好或是某种理想。许多塔历经几百年，历经风霜磨厉，依然威然屹立，有的即使没有了，人们心中的塔依然矗立。这就好比我们常说的底线，一直在那。人因为有信仰，才不断创造文明，所以，人类是伟大的。但，和自然相比，依然是渺小的，也是脆弱的。自然才是真正永恒的。自然可以是任何形式的存在，但人类不行。所以，人类要认真思考人和自然的关系，思考环境对于人类生存的意义。爱护自然，珍惜生命，这样，人类的文明才能延续的更远。The Tower series and the Fragard series are slightly more subjects I do. Forms are different, but they are all based on thinking about nature, life and culture. The tower is a kind of spiritual totem with the meaning of portrait. The process of human civilization cannot be separated from the spiritual belief. The people treat the spiritual inheritance, tower and tower with a very grand ceremony, which embodies too many beauty or ideals of some kind. Many towers after hundreds of years, after wind and frost, still stand tall, some even if not, the tower in people's hearts still stand. It's like the bottom line we often say, always there. People have faith, just constantly create civilization, so, human beings are great. But, compared with nature, it is still small and fragile. Nature is the truly eternal thing. Nature can be any form of existence, but human can not. Therefore, human beings should seriously think about the relationship between man and nature, and think about the significance of the environment for human survival. Love nature, cherish life, so that human civilization can continue further.
相对于自然来说，无论怎样璀璨的文明，终将化为碎片，唯有浩瀚的宇宙一切依然，如此，人类就应该认真思考和自然的关系以及对待生命的态度。Relative to nature, no matter how bright the civilization, will eventually turn into pieces, only the vast universe everything remains, so, human beings should seriously think about the relationship with nature and the attitude towards life.
画面有形象的符号也有抽象的元素，许多大小点如同宇宙星系，塔作为精神的象征和宇宙融为一体，精神不灭在现代开始被认为是可能The picture has image symbols and abstract elements, and many large and small points are like cosmic galaxies. The tower integrates as a symbol of the spirit and the universe, and the spirit is thought as possible in modern times
《塔》系列我基本是基于这样的想法。巜碎片》系列延续了这类思考。人类在发展的过程中创造了许多伟大的文明，但在自然面前依然渺小。在画面中，我把各类重大文明成果以碎片化的方式呈现，以此来表达时光的无情，自然的强大，文明的脆弱。如前所述，对作品的指向阐述，或许局限了作品表现的开度。留有更多的可能性岂不更好，少说为妙，就此打住。共鸣与否，顺其自然。
蔡武平2019.9
The Tower series I was basically based on this idea. The Fragard " series continues this kind of thinking. Human beings have created many great civilizations in the process of development, but they are still small in front of nature. In the picture, I present all kinds of major civilization achievements in a fragmented way, in order, so as to express the ruthlessness of time, the strength of nature and the fragility of civilization. As mentioned above, the orientation of the work may be limited to the openness of the work's performance. It's not better to have more possibilities, better to say less. Resance or not, let course.
Cai Wuping 2019.9
