赵力：私自的风景

在尹朝宇的最初创作中，画家以“地平线”为中轴，在上部的天空以及下部由远及近的空间中展现出了自己的想象力，“彩虹”、“风暴”、“激光”、“北极光”、“流星雨”、“飞机”、“透过阴霾而照射下来的阳光”等等构成了有关天空的表情，而“城市”、“水面”、“田园”、“奔马”、“人群”则是下部空间中的主宰或参与者。

 

In the initial artworks of Yin Chaoyu, the artist took the “apparent horizon” as the medial axis and exhibited his own imagination in the upper sky and the lower space that spreading from the distance to the vicinity. “Rainbow”, “Storm”, “Laser Light”, “Aurora Borealis”, “Meteor Shower”, “Plane”, “Sunshine Irradiating Downward through the Haze” and so on compose the expression of the sky, while “Cities”, “Surface”, “Rural Field”, “Running Horse”, “Crowd” and so on are masters or participators of the lower space.    

 

可以不久之后尹朝宇就认识到仅仅依靠“地平线”会让整个画面稍显单调，即便这样做的结果已经令创作者非常具有对画面的控制力，尹朝宇进一步的想法是在坚持单纯性的同时形成更复杂而完满的视像结构。

 

But before long Yin Chaoyu realized that only depending on the “apparent horizon” will make the whole picture a little bald, even the result by doing this way has made the artist have a good mastery over the pictures. The further thought of Yin Chaoyu is to form the more complex and more satisfactory vision structure at the same time of insisting on the simplicity.  

 

于是从2007年之后，尹朝宇开始在“地平线”之外琢磨出更多的分割画面的方法。

 

So since 2007, Yin Chaoyu began to study out more methods of dividing the picture except the “apparent horizon”.

 

在一些作品中，尹朝宇有意识地打破“地平线”的固化结构，他开始放大近景，譬如那些有关机场、立交桥等的作品，飞机、汽车、立交桥上沿的弧形等在近景中出人意料地“插入”，不仅是一种“迁想妙得”的成果，也是画家有意味地刻意摆放，它们打乱了画面因为“地平线”的存在而形成的横向平行的构成，并在很大程度上压缩了景深以至于画面变得更为平面化；

 

In some of his artworks, Yin Chaoyu intentionally break the fixed structure of “apparent horizon”. He began to zoom out the close shots, such as in the artworks about airports and flyovers, the unexpected “inserting” of arcs of upper sides of the plane, the car and the flyover in the close shots is not only a fruit of “accidental gain of daydreams”, but also the result of the intentional arrangement of the artist, it disturbs the horizontal composition formed by the existence of the “apparent horizon” and compresses the depth of field in great extent so that the picture turns to be more planar;  

 

而在另一些作品中，尹朝宇在近景增加了有关“玻璃窗”的描绘，形成了“窗内”和“窗外”的两个空间，“窗外”与“窗内”的空间是通过玻璃的通透性来加以连接的，而玻璃窗的纵向框线无疑形成了既在纵向上分割画面的方法，又以“硬边”式的冷峻加强了画面结构化的效果。

 

while in other artworks, Yin Chaohui added depictions about the “glass window” in the close shots and hence formed the two spaces of “inside the window” and “out of the window” , and the spaces of “inside the window” and “out of the window” is connected though the transparence of the glass, while the lengthways frame lines undoubtedly compose the method dividing the picture lengthways on one hand, and on the other hand it enforces the effect of the picture structure with its “hard border” type coldness.  

 

事实是尹朝宇近期以城市为题的创作，还带有更强烈的针对性，它取消了人的活动与形象，呈现了近乎霍默式的落寞与忧伤的当代情境。

 

In fact, Yin Chaoyu’s recent artworks with the theme of cities have stronger pertinence. These artworks abandon human’s activities and images and take on a lonely and sad contemporary context which is almost of the Homer type.