殷双喜

Moving toward Cultural Space

About Deng Le's Sculpture

Among China's contemporary sculptors, Mr. Deng Le is a widely speciality-involved, visually widened and industriously-probing artist. He has a profound knowledge of the contemporary openness of sculpture art and a self-conscious understanding of sculpture art's entering public space.

Mr. Deng Le's self-conscious probe into sculpture art began in 1980's; his early works created gaps with traditional thematic realistic-writing sculpture and entered form research of sculpture language.

In early and mid of 1990's, based on abstract description of sculpture, Mr. Deng Le furthered the research of abstract sculpture, which he intituled as imago performance and language construction period.The sculpture in this period Mr. Deng Le briefed to the acme needed by artists' subjective feelings has become the starting point.

As for the sculpture language of perforation, there weren't lack of explorers in modern sculpture history. As a Chinese sculptor, Mr. Deng Le dedicated himself to hole application for over 10 years, systematically persisted in his own creation idea and showed this independent thinking of sculpture art language.As what Mr. Deng Le said "Sculpture artists will undertake showing concerns to human kind and personal social responsibility in independent status, and art will act on its own to become the real trades migrant of human history with the social development "

在中国当代雕塑家中，邓乐是一位专业涉及面很广，视野开阔而又勤于探索的艺术家。近10多年来，他在公共雕塑如纪念性雕塑、景观雕塑方面都创作了许多作品，特别是他还参与了成都府南河的景观改造工程，与公共艺术家贝特西·达蒙一道参与了“活水公园”的项目，创作了《滴水喷泉》等生态雕塑作品，是国内比较早地进行生态环境艺术实践的雕塑家，这使他对雕塑艺术在当代的开放性有了较为深刻的认识，也促进了他对雕塑艺术进入公共空间的自觉理解。

我于2000年之际曾经到过邓乐在成都的工作室，对他的勤奋与好学，以及对雕塑艺术的热爱留下了深刻印象。他的许多作品，都是在这个工作室内完成小稿的，有些作品则放大后安放在工作室后院的阔大空间中进行形体、灯光等各种视觉效果的试验。可以这样说，邓乐是一位在架上雕塑与室外公共雕塑之间自觉地进行艺术转换的雕塑家，他的许多室外雕塑，自觉地运用了架上雕塑的学术成果，而室外雕塑的设计、制作与空间布局、环境景观等，也向他的架上雕塑研究提出了新的课题，促使他进一步思考雕塑艺术与城市空间与当代文化的互动关系。例如他为四川仁寿华凌山庄设计的大门，就很难说是建筑物还是雕塑，他将浮雕与图腾面具、青铜器纹饰结合在一起，以一座拱桥的形式，将不同体量的石材结合在一起，满足了功能与审美的结合。……