简介：本文作者国际艺术批评家联盟---蒂莫西·沃灵顿先生，英国艺术批评家、策展人，2018年8月他于意大利基安恰诺美术馆举行的基安恰诺国际艺术双年展上看到了傅文俊参展数绘摄影作品，随后对傅文俊的艺术创作展开批评研究，临近年末写下了这篇艺术批评文章，对艺术家的“数绘摄影”艺术风格做出了深入分析，清晰地梳理出“数绘摄影”对中西方艺术史的继承，以及“数绘摄影”在艺术、美学和思想上的新意所在。    

对普通人而言，摄影通常被看作是一种以纪实为唯一目的工具，遗憾的是，它所拥有的达到极致和精细的创造潜力常常被忽视，甚至被忘记了。傅文俊是一位积极致力于此的艺术家，他拥有创造性的态度和观点，希望在思考和执行的过程中提升摄影艺术。事实上，他动态活力的艺术作品通过将观念性作为艺术创作的核心，探索、挑战并定义数字艺术、摄影和自我表达的边界。他近年的作品建立起一种引人入胜又相当独到、被称为“数绘摄影”的艺术风格。这些作品改变和扭转了观看者的视角，呈现出紧凑、复杂的内容，邀请观看者去沉思每幅作品蕴含的潜意识信息，与此同时，这些作品也表达出艺术家内在的宝贵自我。

《意趣》傅文俊 数绘摄影 140x175cm 2014-2015  

傅文俊的“数绘摄影”理念充满了动感、突出的特征和综合的个性化品质。复杂的构图元素将观看者引入每一个细节深处，而形式与形态的流动感常常会掩盖作品中所隐藏的手部、面部甚至是动物图像。这些隐匿、错综的元素组合成醒目的复合构成，将人深深迷住，同时鼓励观看者探究并仔细分析作品的各个部分。这位当代艺术家让整个创作过程无可挑剔，作品融入多重曝光等技巧，画面细腻丰富、层次多样，这让人想到曼·雷不使用照相机创作出的物影摄影，他们二人在对光、平衡和美学的微妙关系处理上都有着前卫的探索。傅文俊的创作常被认为有股反叛精神，执着于对摄影的纯粹信息化。他那些极具吸引力的构成促使人去思考，实际上对观看者提出了更高的要求，而不只是去观看美，美作为思维的深入维度在傅文俊的作品中是不断地被激发着的。  

《一抹千秋》傅文俊 数绘摄影 140x175cm 2014-2015

傅文俊在多组数绘摄影系列作品中广泛运用传统的雕塑形象，主要是西方艺术中的雕塑，这些雕塑或许给他灵感，或是向诸如米开朗基罗和多纳泰罗，甚至是向整个文艺复兴时期的艺术家致敬。傅文俊的观念性摄影激发出对不同文化在全球化时代相互间关系的深度思考，他巧妙地将古代艺术形式与当代风格并置在一起，无可否认他具有出众的才华让观看者去思索某一话题，同时成功地结合新旧艺术技法，并在他新鲜的视角中获得丰富与连接。

《花花世界》傅文俊 数绘摄影 140x175cm 2014-2015

傅文俊的数字摄影受到多方面的影响，包括对欧洲古典艺术的根本认识，《摄影叙事》系列之《花花世界》便是一个好的例子。作品中的雕塑被熟练地处理为负片效果，并被强烈、醒目的色彩和生机勃勃、富有表达力的形式所包围。生生不息的能量流淌在他的作品中；他常常运用鲜亮的红色调和严肃的黑色调，结合一股动态感，令人感受到他与中国画，比如张大千的作品间无法割舍的联系。艺术家在视觉上变幻主题与主旨，象征性地表达并深刻叙述了中国城镇在快速社会变革下的变化。他所传递的信息借助一套经由整合在学术上使用的符号得到强化，这些符号将观看者与每幅作品中艺术家真诚、有着个人思考的意味深长的场景联系了起来。

《高山流水》傅文俊 数绘摄影 100x100cm 2017-2018

同时，傅文俊有着鲜明独特的个人艺术风格，近距离地分析不禁会和芭芭拉·卡斯腾（Barbara Kasten）、玛雅·若查特（Maya Rochat）的摄影作品相比较，特别是分析他们在作品中对生动色彩和大胆形式的运用。卡斯滕同样使用了三维物体和雕塑，在艺术上改造它们，利用相机镜头以新的视角和目的构思出独特的观念性创作。进一步看，印象派的影响在傅文俊对形式和形态的处理上也有迹可循；他和李·克拉斯纳（Lee Krasner）都有着深邃的哲学理想，在他们对线条和形态大胆却雅致的演绎中有力地展现了出来。  

《柳暗花明又一村》傅文俊 数绘摄影 100x100cm 2017-2018

傅文俊的摄影作品散发出自由的氛围，他的艺术创作过程赋予美与启发性讯息良好的共生，面对他的作品人们在观看和沉思中都能获得真正的喜悦。傅文俊的创造力体现出他与多种媒介的紧密联系，他无懈可击地轻松利用照相机和熟练的摄影处理传递出挑战性的思考与关注。艺术家突出的创新能力持续不断地促使他探索走出新的艺术路径，在这条道路上清晰地表达出他由衷而真挚的想法，这些想法构成了他对不断扩展世界的哲学思考。  

《涌动的岩浆》傅文俊 数绘摄影 100x100cm 2017-2018      

Fu Wenjun

Critical Analysis

By Timothy Warrington --- International Confederation of Art Critics  

From a layman’s perspective, photography is all too often seen as a tool with the sole purpose of documentation and, unfortunately, its extreme and sophisticated creative potential can occasionally be overlooked or even forgotten; Fu Wenjun is an artist actively concerned with creative attitudes and stereotypes who wishes to elevate photography through a process of thought and execution. In fact, his dynamic artworks explore, challenge and define the boundaries of digital art, photography and self-expression via a conceptual journey that is at the heart of his artistic process. In his most recent collection he has developed an intriguing and unique style that he has named ‘Digital Pictorial Photography’. These artworks adapt and distort the viewer’s perception, creating intense intrigue and inviting the passive observer to ponder the subconscious messages that are intrinsically contained within each piece whilst, simultaneously, conveying a treasured personal sense of the artist’s inner self.   Wenjun’s ‘Digital Pictorial Photography’ conceptions are alive with movement, intense character and comprehensive personality. The complex structural elements they possess lead the spectator’s eye deep into each enthralling detail while the fluidity of the forms and shapes often mask the image of a hand, face or even animal disguised within the artwork. These hidden intricate facets combine to assemble an arrestingly compounded formation in thoroughly captivating pieces that encourage the viewer to investigate and carefully analyse each aspect. This contemporary artist flawlessly employs his process, which incorporates multiple exposures and culminates in an intensely rich, layered opuses that conjure images of Man Ray’s rayographs produced without a camera when considering their shared experimental approach to the delicate relationship between light, balance and aesthetics. Wenjun’s creations are often defined as rebellions and its purely informational attitude towards photography. His stunning compositions are thought provoking and require substantially more from the viewer than simple observation of their beauty as profound dimensions of the mind are ceaselessly stimulated by Wenjun’s work.   In Wenjun’s collections ‘Digital Pictorial Photography 1, 2 and 3’, he uses extensive imagery of traditional sculpture, predominantly originating from the Western hemisphere, which suggests an inspiration or reaction to artists such as Michelangelo and Donatello, or indeed to the entire Renaissance period. Wenjun’s conceptual photography inspires deep reflection in regards to the relationships that exist between different cultures in the modern age of globalisation; he seamlessly juxtaposes ancient artforms with contemporary styles proving he possesses the undeniable capacity to move the viewer to contemplate specific issues whilst successfully bringing together a cohesion of old and new artistic techniques enriched and connected by his fresh perspective. Wenjun masterfully utilises his artform as a fluent language through which to communicate his passionate commentary on urbanisation on modern life.   Wenjun’s digital photography stems from diverse influences, including a fundamental understanding of classical European art, as is exemplified in ‘The Showy World’ from his Photographic Narrative collection. The statues presented in this piece have been expertly manipulated in negative and are surrounded by strong, eye catching colours and exuberant, expressive forms. Wenjun’s art is awash with vibrant energy; he frequently uses striking red hues and harsh black tones which, combined with a distinct sense of movement, provide inextricable links to traditional Chinese art such as that of Zhang Daqian. Wenjun visually contorts themes and motifs in order to emblematically express the narrative of the profound effect that rapid societal change has on Chinese towns. His message is further solidified by means of an integrated web of academically utilised symbolism that connects the viewer to the eloquent sense of the artist’s honest and full self expression captured in each artwork.   Whilst Wenjun’s style is incredibly unique, upon close analysis it is possible to draw comparisons with the photography of Barbara Kasten and Maya Rochat by analysing at their vivid use of colour and bold forms. Kasten shares the use of three dimensional objects and statues that are artistically altered through the lens of the camera to conceive a distinct conceptual creation with new perspective and purpose. A further influence of expressionism can also be detected in Wenjun’s individual approach to form and shape; he and Lee Krasner share deep philosophical ideals that are powerfully demonstrated through their daring yet elegant interpretation of line and shape.   There is a rare aura of freedom radiating from Wenjun’s photography who, through his artistic processes, achieves a wonderful symbiosis of beauty and provocative message rendering his works a true delight both to observe and to contemplate. Wenjun’s creativity reflects the sheer magnitude of his affinity to his medium, he demonstrates an impeccable ease in expressing challenging thoughts and concerns through his camera and via his skilled photographic manipulation. His remarkable innovation consistently catalyses a relentless search to develop new artistic methods through which to articulate his fervently heartfelt and sincere thoughts that unite to establish his philosophies in regard to a ceaselessly expanding world.