<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>我给我的艺术创作命名为“禅说”</p><p>从材料上区分主要由两大部分组成，分别都是持续创作了二三十年的系列作品：一个是平面的版画作品，另一个是立体的装置作品。</p><p>另外，我也刚刚开始了“禅说”系列作品的影像创作，算是第三个部分。</p><p>在经过多年的创作之后，尤其是最近两年在学校的学习和创作中，我渐渐搞清楚了自己的艺术创作，实际上就是我的人生禅修。</p><p>我在不断重复劳作的过程中，所创作出来的版画和装置作品，也包括我的影像作品，事实上是我进行人生禅修时的生成物质。</p> <p>我的“禅说”系列版画创作，大概开始于一九八九年，那是在我大学本科的最后一年，至今大约是三十年时间。</p> <p>在印制工具的选择上时有不同，但基本上是使用：印刷厂闲置或废弃的铅字、木字和各种图形符号的印版；自己刻制的木板、橡皮、传统中国画使用的那种石头篆刻章；几百年前的老木版年画的刻版；也还有很多其他现成品如塑料、金属、玻璃、棉织品等。</p> <p>在制作方法上，大体可以分成两个部分：</p><p>第一部分是散版式的手印，也就是单手盖章和双手压印的方法为主，这个主意来自于千年前中国古代的活字印刷术，那时候还没有印刷机器，只是很简陋的手工制作木字或陶字，手印到陶土器皿上和手工纸上。</p><p>我的创作还结合部分地方使用铜版画印刷机、石版画印刷机和热压烫印等设备综合在一起的方法印制我的版画作品。最近这两年也大量的使用丝网版画设备，将印制丝网版画的方法用于我的散版版画上，用多种不同的技术手段来丰富我的作品的表现手段。</p><p>相比较有着固定的不同色版和相对固定印数的传统版画，我的这种散版版画，有着高密度的图像汇聚和无穷多色彩呈现的特点，每件作品也都无法复制，都是独幅。</p> <p>第二部分是手绘，主要使用中国传统绘画工具材料：毛笔、墨汁和矿物质颜料，然后也结合使用水彩画颜料、丙烯颜料等。</p> <p>相比较正规、常见的传统版画作品，我的版画由于有绘画成分结合散版手印、还有多版种方法混合使用，尤其是我的先印文字、图像而后画色彩部分，然后再印文字、图像，最后再继续画色彩这样的反复交叉的技术手段，画面呈现的是图像和色彩的多次重叠。打破了传统版画概念的界定和很多具体的规范，成为一种新面貌的版画。</p><p>大多数我的版画作品是由无数的小文字、小图形符号等信息组成，画面内容纷繁复杂、色彩丰富，有点像所谓的“极多主义”，但是画面没有明显的主体形象，看起来是整体上很简洁的抽象风格。画面中的抽象和具象、简单和复杂共同呈现出我的审美观念、我的与世无争的中庸之道和我对于世界和平的美好追求。</p> <p>www.zhengxuewuart.com</p><p>zhengxuewuart@gmail.com</p> <p>使用我自己的装置作品进行照相制版，来制作丝网版画作品。</p><p>将这件丝网版画与装置作品共同合并成为一件“版画装置作品”，这是我打破艺术种类既定界限所进行的研究之一。</p> <p>XUEWU ZHENG </p><p>郑学武短简历</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>郑学武</p><p>职业艺术家/国际艺术策展人</p><p>六十年代出生于黑龙江农垦建设兵团，先后修学业于哈尔滨师范大学艺术学院美术系、中央工艺美术学院装饰绘画系、纽约州立大学美术学院版画系。美国阿巴拉契亚州立大学、美国北卡罗来纳大学的客座教授；美国哥伦比亚大学、帕森斯学院、瓦萨学院及爱尔兰科克大学的访问学者。是美国弗蒙特艺术中心、比利时马瑟瑞尔艺术中心和韩国光州市立美术馆的国际驻访项目艺术家。</p><p>版画和装置作品参加过亚洲、欧洲、澳大利亚和美国的众多展览。</p><p>重要收藏：中国美术馆、德国科勒惠支博物馆、韩国光州市立美术馆、美国阿克兰博物馆及芝加哥大学博物馆等。</p>