The death star
艾滋病皮疹图片死亡之星
爆炸英语
Wang Guangle has emerged as one of China’s best young artists by painting floors and finding inspiration in coffins, discovers Stacey Duff
王光乐凭借着绘画地板和从棺材中寻找灵感，已成为中国最好的年轻艺术家。Stacey Duff 草莓怎么清洗发现。
Beijing Commune this month.We finally wake up the beast – a two-year-old slobbering bulldog with two rows of firm grey teats. Niuniu has been snoring for an hour, like an idling chainsaw, in this 100sqm split-level studio near Dashanzi.
‘God, you stink,’ says her owner, the painter Wang Guangle. The artist is the dog’s polar opposite: while Niuniu posss a neurotic tail and extrovert tongue, Wang is a picture of calm and rerve. Niuniu better get ud to visitors.
本月北京公社。我们终于吵醒了那野兽-一只2岁的带着两排结实的灰色奶子的流着哈喇子的斗牛犬。妞妞已经打了一个小时的呼噜，像一个空转电锯，在这个大山子附近的100平
的错层工作室里。
‘天哪，你这个脏东西，’她的主人，画家王光乐说。这个艺术家是这只狗的对立面：妞妞有着神经质的尾巴和外向吐的舌头，而王是平静和矜持的写照。妞妞能更好地适应来访者。
Wang is in demand. Even as many of his artsy neighbours have packed up and gone home, he has gained a reputation among collectors as a steady, stable, rious artist. ‘I plan on staying,’ says Wang.
‘Painting is the only thing I can do.’ Wang’s small annual output – about ten full-sized paintings per year – has spiked his worth. Plus, he’s economical in that he doesn’t have a team of assistants helping to fill orders.
王很受欢迎。尽管他的许多艺术邻居都打包回了家，他却在收藏家当中赢得了平衡、稳定、严肃的艺术家的声誉。‘我打算呆下去，’王说。
‘画画是我唯一能做的。’王不多的产量-每年大约10幅大画答谢中书书原文-已经大概固定了他的价值。另外，他是经济的，因为他并不拥有一支满足订单需求的助手团队。
At 33, he’s a one-man show – and what he’s painting is as unique and morbid as he is, le
t’s say, grounded. While still a student at Beijing’s Central Academy of Fine Arts, he worked like most of his classmates with figurative painting.
But by the time he graduated, he was painting the interior of his empty studio. A curtained window allowed only a sliver of light to enter, slicing across the studio floor.
关于挫折的名人素材在33岁，他举办了个展-他的作品是独特和病态的，或者说，扎实的，就像他一样。当他还是央美的学生的时候，他和他的大部分同学一样画具象的作品。
但毕业的时候，他画了一个空工作室的内部。一小束光线透过挂着窗帘的窗户进入，像一个切片切过整个工作室的地面。
雨街‘That’s when I started focusing on the ground,’ says Wang. In 2002, Wang started his Terrazzo ries, which, as the name suggests, focud on terrazzo – a common decorative material in Mao-era China, as it was in the former Soviet Union.
You’d e it on people’s apartment floors, and you can still e it on the floor of Beijing subway stations. ‘Some Western viewers e the Terrazzo paintings and immediately thin
k abstract art. But gradually they reali that I’m painting a real object. I’m painting the floor.’
‘从这时候起我开始把重心放在地面上，’王说。2002年，王开始了他的水磨石系列，顾名思义，聚焦水磨石-在中国的毛泽东时代一种普通的装饰材料，正如在前苏联一样。
你可以在人民大会堂的地面上看到它，也可以在北京地铁站的地面上看到它。 ‘一些西方观众一看到水磨石绘画，便立即认为是抽象艺术。但是渐渐地，他们意识到，我画的是一个真正的对象。我画的是地面。’
Abstract art is in the eye of the beholder. For Westerners, it works as abstract art. Chine viewers connect to the painting becau it makes them nostalgic for an era long gone – before parquet, angst and money-lust.
‘When I paint, I don’t think about anything el,’ says Wang. ‘I think about the canvas. This habit has extended beyond my workspace. When I walk down the street or have dinner, I focus on that moment.’
情人眼里出西施，抽象艺术也如此。在西方人眼里，它是抽象艺术。中国观众与绘画产生联系，更多的是因为它使他们怀念的逝去的时代-实木地板、焦虑和金钱欲望之前的时代。
‘我画画的时候就不想其他的，’王说。‘我只思考画布。这个习惯已经超出了我的工作空间。当我走在街上或吃晚饭，我着重于那一时刻。
Some critics link Wang’s work to Zen, but he points to other sources – a Biblical reader, for instance, that a Christian gave him at art school. At first, he shelved the book, but gradually he’d read a little each day.
This meditative process led Wang to his most recent work. ‘Making the Terrazzo ries,’ he says, ‘I’d paint veral layers on each painting. The process reminded me of a custom back home in Fujian.’
一些批评家把王的作品联系到禅宗，但他指出了另外的源头-例如圣经，在艺术学校一个基督徒给他的。起初，他把它放在书架上，渐渐地，他每天读一点。
这个冥想的过程引导他到达最近的作品。‘画水磨石系列时，’他说，‘我会画几层。这个过程使我想起福建老家的一个习俗。
河南嵩山
Before cremation became Chine law, the Fujiane in the north of the province would start painting their own coffin as soon as they felt their health was failing.
‘Each year they’d add another layer, until they died,’ says Wang, who saw this custom as a child, but buried it in his mind until his painting process revived the memory.
我怀念的在火化成为中国法律之前，福建北部的人们一旦开始感到自己的身体不太好了，便会尽快刷自己的棺漆。
‘每年他们都会刷一层，直到他们死去，’王说。当他还是个孩子的时候看到过这一习俗，但埋在他心里，直到他的绘画过程勾起他的回忆。
In the original folk tradition, people usually cover the entire coffin in evenly applied red lacquer, layer after layer, year after year, with the layers preventing the coffin from deteriorating.
Wang, however, choos not to cover the canvas in red lacquer, and his patterns are different as well. It’s the process that he’s after. But rather than paint a layer each year, he averages about two layers per day. Not all the layers overlap, and are thinly applied so
the final result is highly polished.
在最初的民间传统里，人们通常用朱漆均匀地覆盖整个棺木，一层又一层，年复一年，防止棺木腐化。
然而，王没有选择红色漆覆盖帆布，他的图案是不同的。他跟随的是它的过程。但是不是每年一层油漆，而是平均两层每天。并非所有的层都重叠，并且很薄，最终的结果是高度抛光的。
Sometimes, after so many layers of paint, the surface cracks a bit, suggesting the cracked wooden lid of a coffin. The result can be haunting.
