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1、www.paper-妙文翻译公司翻译样稿与栅栏与墙同时或稍后的作品，像“骰子”系列、“书”系列以及作品车轮，虽然其中的一些附着上了更多的中国意味，但是它们并非仅仅停留在文化符号借用或移用的层面。“骰子”系列是非常有意思的一个作品系列，彭小佳对这个系列的创作无疑也是情有独钟的。在2001年彭小佳推出了这个系列中的第1号作品，他出人意料地将“骰子”放大至令人吃惊的超常程度，以至于呈现出超离人们日常经验的视觉感受。为了强化这种视觉感受，彭小佳同时还使用了镶嵌性的手法，将楠木作为“骰子”的主体，而将红木镶嵌在楠木之上作为“数点”，而且艺术家也采取了一种独特的摆放形式，把“骰子”斜向地插入到一个牛皮的底
2、座上，这种摆放的形式，让人联想到中国古代厅堂、书房中的赏器或者西方古代庙堂中的伟人胸像。以此而论，彭小佳似乎是想通过一种刻意“超离”的姿态去颠覆那些“惯常”的生活经验与审美经验，引导我们摆脱那种透过文化与惯例来体验艺术的习见，激发自由、新鲜及全新体验的欲望，正确地感知生活时代的真正变化。2003年创作的“骰子”系列第3号和“骰子”系列第4号，可以看作是第1号的不同变种，也可以视为是某种顺理成章的创作延续，然而彭小佳在对材质试验上的兴趣则一览无余，第3号是铸铜的，而第4号又跳跃回到了木质，甚至连底座都采用了木质的材料。2007年创作的“骰子”系列第5号，则与该系列的前几件作品有很大的不同。这种不
3、同，既表现在它不再是单件的形式而构成了一种组合的关系，由此而形成了某种复杂的视觉结构，同时它又以某种特殊的气氛营造为基础，强调了现场空间的仪式感甚至是一种的荒诞不经。事实上“骰子”系列5号，与此前的“书”系列或者作品“车轮”形成了逻辑上的相关性。只是在“书”系列或者作品“车轮”中，彭小佳似乎更加大了相类似的艺术致力，乃至施以“调侃”的手段，由此增强了作品的“幽默的兴味”，以及相对明确的文化针对性。对空间的“沉思”，无疑催动了彭小佳更为积极的创作热情。室内展厅的优越条件，在艺术家看来或许已经成为某种对自由的约制，虽然彭小佳开始频繁参加各种艺术群展和联展，而这些展览又大多是依托于美术博物馆的固有空
4、间。彭小佳似乎更希望在室外空间、甚至在自然环境中去创作与展示自己的作品，而这需要艺术家再次对自己创作进行深度地“沉思”，并在更大范围内展开对空间地想象。彭小佳并不想刻意制造作品与环境间的张力关系，而采取了某种相互协调的温和策略，这一点非常接近中国古典的思想传统。彭小佳甚至强调其作品与环境无限接近以致彼此互渗的新颖关系，这让艺术家的创作显得过于的内敛低调。然而，如果说彭小佳在处理“外关系”（作品与环境的关系）的时候像个“环境保护主义者”的话，那么在处理“内关系”（作品内部结构的关系）的时候则更像是一个“结构主义者”。彭小佳注重结构，通过各要素之间的特定关系来形成作品的“结构”；艺术家也注重关系，
5、借助于各要素之间的关系而致力于形态上的差别。彭小佳似乎已经抓住了某种的实质：即任何的复杂，都是由最简单的差别逐步积累起来的；而任何的复杂，又都可以最终还原为差别。从这个意义而言，彭小佳的这些创作就是这种朴素的“辩证法”的注脚旁释。关于材质，在金属、陶土等材质之外，彭小佳“顽强”与“坚持”地表达出对木质的某种偏好，而艺术家的大多数作品也都选择了这一材质。作为中央美院雕塑系80年代的毕业生，美院教学传统中对木雕的注重自然也对彭小佳产生了一定的影响。除了抽象结构性的立体作品之外，彭小佳也将人物性的木雕作为自己创作的组成部分，2007年的七宗罪是这部分的最新的创作呈现。七宗罪与稍早的有关人物的作品亦有
6、明显不同，它不再是结构化或象征性的表达，似乎又回到了某种朴素的原点。作品以硕壮而健康的女体为表述，手法简洁，并施以彩绘，体现了彭小佳观察的深入与表达的精确，也体现了艺术家“沉思”之后而臻至裕如的精神气质。然而这些都可能只是一些表象而已，彭小佳将作品命名为“七宗罪”，并以迥异形态的单个人物来确指“贪食”、“淫欲”、“愤怒”、“贪婪”、“傲慢”这些丑陋无比而顽固不化的人性弱点，其创作意图不仅仅是罗列直陈，却是一种无情鞭挞之后的深沉情感与人文关怀。His works at the same time as or after Fence and Wall, such as Dice series, B
7、ook series and Wheels, though with more Chinese flavor, are more than the borrowing or transfer of cultural signs. The Dice series is a very meaningful and interesting series, which Peng Xiaojia is especially fond of. In his No. 1 work in this series introduced in 2001, Peng magnifies the die to a s
8、urprisingly abnormal degree such that it exceeds peoples daily experience of visual feeling. To strengthen this visual feeling, Peng also uses the embedding technique, using Joe wood for the main body of the Die and embedding red wood in the die as the points. In addition, the artist adopts a unique
9、 lying method for the die, inserting it slantways on a cowhide base. This inclined deployment reminds people of ancient Chinese living room, decoration-ware in the study, or the sculpture above chest of a sage in ancient Western temples. It seems that Peng intends to overthrow the normal life and es
10、thetic experience in an intentionally “superhuman” posture, inspiring the audience to free from the conventional culture and practice to experience the art, stimulate the desire for free, fresh and brand-new experiences, and properly perceive the real changes of life and time. His No. 3 and No. 4 wo
11、rks in the Dice series created in 2003 can be regarded as the variants of the No. 1 work and a certain natural extension of his creation. From these works, Pengs interest in trying different materials becomes obvious: No. 3 is of bronze and No. 4 is again of wood, with the base made also of wood. Wo
12、rk No. 5 in the Dice series in 2007 differs quite a lot from the previous works of the same series in that it is no longer a single-ware but a combination, thus forming a complicated visual structure, and by creating a special atmosphere, emphasizes the ceremonial, or even ridiculous, feeling of the
13、 space. As a matter of fact, No. 5 of the Dice series is logically related to the previous Book series or the work of Wheel. In Book series and Wheel, Peng seems to aggrandize the similar artistic tension in a way of joking, thereby increasing the humorous flavor and the cultural pertinence of the w
14、ork. The contemplation on the space has undoubtedly catalyzed the positive creation passion of Peng Xiaojia. For the artist, the favorable conditions of the indoor exhibition hall become a restraint of creation freedom. Though Peng frequently attends various artistic group exhibitions and joint exhi
15、bitions, which mostly rely upon the intrinsic space of the art museum, Peng seems to give preference to the creation and exhibition of his works outdoors or even in the natural environmentthis, in turn, requires the deep contemplation of the artist on his creation and a wider imagination of the spac
16、e. Reluctant to intentionally manipulate or create the tension between his work and the environment, Peng adopts instead a mild strategy for mutual harmony. This resembles to a considerable degree the classical thinking tradition in China. Peng even emphasizes the novel relationship of infinite approaching and mutual infiltration between his work and the environment, which makes his work overly low-profile and conserved. However, if we say that P
