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Codism Manifesto
密码主义艺术宣言

ⅠBackground

When I was eighteen, I suffered from a mental disorder for half a year, and it was during this time that I discovered art. My philosophy also began to take form during this period of time. I had read extensively into the fields of philosophy and science (especially quantum physics), Plato's cave enlightens the imagination to unknown spaces, Descartes’ demon destroys previous structures of philosophy to rebuild a new system and Wittgenstein's mirror of the game captures the essence of philosophy through language. The centuries-long debate surrounding the nature of matter as either a particle or a wave, and its reflection on the real world has perpetuated through the theories of Einstein, Bohr, Heisenberg, Schrodinger and others. As well as the fragility of knowledge itself, all the above helped me re-understand the world. In university, I spent three years creating my own philosophy, I used ‘imagination’ as the basis of my philosophy, through the form of Dialogues (The Dialogues of Mr. Walter and Mr. Galson, a total of seven articles, included in my book ‘Drifting: an artist's madness, sex, art and philosophy’), involving questions concerning existence in reality, the possibility of god, the truth in history, the vanity of inspiration, time, and fate. All of the aforementioned are presented in my artworks. I believe an artist above all things should be a thinker, and examine the dissonance of their thoughts through their own art.

My early artworks refer to surrealism. The mystery and fantasy of surrealism is what led me into the realm of art. Surrealism is a means of elaborating dreams. It can break reality and bring reality back to a fantasy realm, distorted and merged with forms of the inner desires, struggles and pursuits of an artist. To me, the charm of surrealism lies in that it can fully show the inner world of an artist. But as time passed, I was no longer content with surrealist expressions, because if I wanted my art to leave a mark on history, I had to create something that had never been done before.

Since 2018, I have been rethinking my artworks. Using my educational background of mathematics in my practice, my current artworks incorporate the form of code as a major element of my art style. In fact, my early artworks also had an element of coding, but only in recent years have I gradually formed a theory of my own.

I was self-taught in painting while I majored in mathematics in university. The element of mathematics may seem to have no relation to art, but for me, mathematics is the basic explanation of how things work in the universe. Art, on the other hand, is a manifestation of unique human emotions and souls, the former being the cornerstone of reason, and the latter the ultimate sublimation of emotion. Both are important forms of human understanding and expression of the world. What kind of collision can be brought about by combining the two together? Integration or contradiction? I merge mathematics and art based on my own understanding of both fields and the reflection of the past torture and encouragement from these two. I hope to bring viewers to new thoughts about math and art.

To me, painting is like a colorful shell, and theory is its soul. After two years of summarizing my own ideas of art, the time comes to solidify the first draft of my Codism Manifesto.

Ⅰ 背景

在我18岁时,因为一场持续了半年的精神问题让我找到了艺术,而我的哲学思想也在这段时间慢慢萌芽,我阅读了大量关于哲学与科学(特别是量子物理)的书籍,柏拉图的洞穴打开了我们对空间和未知的想象;笛卡尔的恶魔摧毁了以往哲学所建立的高楼并重新构建新的体系;维特根斯坦的游戏把哲学的本质带到了语言的镜子中;一个在物理学界持续了数个世纪的关于物质的本质究竟是粒子还是波的争论在爱恩斯坦、波尔、海森堡、薛定谔等人所产生的各种理论中所带来的对现实世界的思考;以及哲学思考与量子认知带给我们对知识本身的脆弱性,这些都让我重新认识了这个世界。

在大学期间,经过前后三年的总结,我以“想象”作为基点整理出自己的哲学思想并以谈话录的形式呈现(加尔森与沃瓦特谈话录,一共七篇,收录在我2016年出版的书《漂·绎:一个艺术家的疯狂、性、艺术与哲学》中),里面分别涉及到对现实存在的质疑、上帝的可能、历史的真实性、灵感的虚妄、时间和命运等话题。以上的一切在我的作品中都有所体现。在我看来,一个艺术家首先应该是一个思考者,并把思考的过程反馈到自己的作品当中。

我的早期作品更多趋向一种超现实主义的幻想,我也是因为它的神秘和梦幻而被引领进艺术的境地。超现实主义是一个阐述梦的手段,它能把艺术家内心的欲望、挣扎、追求等诸多情感以或扭曲变形或重组的形式去打破现实并重新构建出幻想梦境进而展现在画布上,它的迷人之处在于其妖魅的手法能充分展现艺术家的内心世界并把思想以易被理解的形式具体化。但随着时间的推移,我不再满足于超现实主义的表达,如果我希望自己的艺术能在历史上留下点痕迹,那我就必须创作一些鲜为人做过的东西。

从2018年起,我一直对自己作品和创作思想进行探索和反省。因为有着数学专业的背景,我运用数学理论创建了一系列密码,使其成为我个人的艺术表现元素,并运用到艺术创作之中。事实上,在我早期的作品中也有密码元素的参与,但在近年对它的深入研究后才逐渐形成自己的创作理念。

我的绘画之路从来都是自学的,而大学专业是数学。数学这一元素与艺术看似毫无沾边,但选择将数学加入艺术创作中并不是纯粹为了一种画面上的标新立异。对我而言,数学是解释宇宙万物运行规律的基础,艺术则是作为人类特有的情感与灵魂的一种体现,前者是理智的基石,后者是情感的最终升华。两者都是我们人类对这个世界的理解和表达的重要形式,把两者交织在一起究竟能带来怎样的碰撞呢?是融合还是矛盾?我把数学和艺术结合起来,正是自己对二者的思考和过去受到它们或折磨或鼓励的反映,同时也希望能带给观者一些启发和感触。

在我看来,画作如同一个充满魅力的外壳,而唯有理论才是支撑其成长的灵魂核心。经过两年多的探索和总结,才有这篇密码主义艺术宣言的诞生。

Ⅱ Definition

Codism in art refers to the recompilation of common language systems into new images or symbol systems by means of mathematics, linguistics, etc. and incorporating them into works of art. The compiled cryptosystem can be symbols, lines, geometric figures, color changes, cubes arrangement, etc. It is a rigorous system with regular rules instead of random, it hides the original information to be expressed in the form of codes. This cryptosystem needs to fuse with the created artwork. They are complementary and not independent of each other. It is precisely because of a variety of patterns that different cryptosystems can show, that it can be embedded into artworks and become an inseparable part of it.

Ⅱ 定义

在艺术中的密码主义指的是用数学、语言学等方式把常见的语言通过重新编译成新的图像或符号并将之融入到艺术作品当中。编译后的密码系统可以是由符号、线条、几何图形、色块变化、立体堆积等组成,是一个有规律可循而非随机的严谨系统。它以隐性的方式传达着信息。这个密码系统需与艺术作品有机融合成一个整体,它们之间相辅相成。因为不同的密码系统可以表现出图案的多样性,因此它们能有机地嵌入到艺术作品中并成为其无法分割的一部分。

Ⅲ Meaning and purpose

1. Symbolic meaning

In the art of painting, you can often see the traces of symbolization, and use certain images or symbols to harness a concept or meaning. such as using a white dove with an olive branch to convey peace; using a rainbow flag to symbolize the LGBTQ community; using a cross to embody religious or death concepts. There is also a certain symbolic meaning in my art. In addition to the specific objects in the painting, my code has become a part of the symbol.

So far, I have created over ten code systems and integrated them into the artworks. Sometimes a painting is just one code system, and sometimes multiple codes are superimposed. The shape of each set of codes is different (some are lines, some are geometric, some are round deformations, some are symbols similar to hieroglyphics, etc.), because in different paintings, I will choose according to the theme of the painting, and it is because of the different forms of these codes, they have different symbolic meanings to the picture. Since these codes are formed through mathematical processing, and mathematics is the basis of all scientific and technological progress today, the presentation of these codes on canvas represents technology and science. The code itself is a hidden method, sometimes symbolizing secrets or unacceptable ideas or even a reflection of the virtual world.

In the intricate tapestry of Chinese society, spanning from ancient eras to the modern day, the delicate balance between politics, culture, and societal norms often renders direct expression challenging. This has necessitated the use of metaphors and indirect means to convey myriad thoughts and perspectives. Throughout history, Chinese poetry has been rich with metaphors and symbols, exemplified by lines like Du Fu's evocative "The red gate smells of wine and meat, the road is frozen with dead bones." Within this social milieu, my development of codim art methodically incorporates the essence of social history. Thus, my codim creations serve as a mirror reflecting the nuanced realities of Chinese society, deftly articulating ideas and viewpoints that evade direct public discourse by embedding them within artworks. This concealed information may encompass critiques of social norms, contemplations on political structures, or reinterpretations of cultural heritage. Simultaneously, in a landscape where personal sentiments and reflections face constraints, codim art emerges as a conduit for individuals to articulate their innermost thoughts. Within authoritarian regimes, the symbolic language of code art embodies a yearning for freedom of expression and individuality, symbolizing resistance against dominance and control, while championing the pursuit of liberty and creativity. Through the intricate web of code systems, I delve into profound contemplations and insights within the realm of art, starkly contrasting the boundaries imposed by contemporary social realities. This exploration underscores the nuanced interplay between individuals and society in the context of Chinese culture.

The symbolic meaning of artworks is based on the artist and the audience having a common cultural knowledge background. But in pure mathematics, in a series of theorems and proofs, no symbolic elements can be found. The world of mathematics is so pure that it only has logic and reasoning. And when this cryptographic code with mathematics is introduced into art, it is to a certain extent a betrayal of symbolism, and this is also one of the processes that will gradually appear in my works.

 

 

2. Words and communication

Before becoming an artist, most of my work was in writing. When I started to paint, I always thought about the difference and connection between painting and writing.

Reading a paragraph of words requires clear and organized thinking and time in order to understand the meaning in the text. In contrast, processing a painting can be scattered or even instantaneous. Reading text is like a narrow stream flowing, and it is single and coherent in time. It can only be understood by reading one word after another, as this is the brain's way of clearly organizing and making a single-channel sequence. But viewing a painting is like standing on the edge of a radiant lake, and the result is immediate sensory pleasure or other instant experience. The former is the perception of understanding, while the latter is a sensory experience. Words are constrained by time, yet it is the most ideal tool for expressing thoughts, because words (or language) itself is the basic way of thinking. The painting is an instant impact, and its viewing is not constrained by time. (Of course, to understand some certain paintings still requires time, but that would be a different subject.)

My code embeds the narrative and comprehension elements of text into the painting, which makes my work, not only have the immediate sensibility as the painting itself, but also implies step-by-step understanding. The existence of the code does not necessarily suggest that the audience needs to understand the story or meaning behind it, but work as a representative of the comprehension and revelation that can be obtained by reading.

My code system brings a time-like depth of procedural understanding to the painting in addition to the visual characteristics of the painting itself.

 

When a piece of art is presented, it is a non-verbal communication between artist and audience. It does not have a concise expression of information like verbal communication, and the information of the work may be transmitted unconsciously by the artist to the viewer. Since this nonverbal communication between the artist and viewer is unclear, not all audiences can receive the message.

The most direct way to convey information is to through language. At this functional level, art is unable to match. And there is no need to compare, because an artist, to a certain extent, is hiding information rather than to exposing it, especially in contemporary art, the information that the artist wants to express through various forms of presentation lets the viewer explores its meaning like a maze, layer by layer. Perhaps one of the charms of contemporary art stems from this. Organizing and hiding a message is to give it a sense of mystery to arouse the viewer’s interest, and allow the viewer to experience the pleasure it brings little by little when solving the mystery of the message. Therefore, in addition to visual enjoyment and stimulation, for the viewer, art also has a bit of pleasure in the decryption process, although this information itself may be rather bland. As Oscar Wilde once said, "the commonest thing is delightful if one only hides it." At some point, art is a fantasy lie with psychedelic color, and it is through this lie can the viewer more fully experience the preciousness of the truth lying behind.

My artworks that conceal the information in the form of codes symbolize the process of constructing this lie of art.

The code in my work carries information, which is equivalent to an information carrier, just like language, but it does not belong to the existing language system known to mankind. Because the foundation of my code is mathematics and art, and both of these are things that all human beings can understand and feel. Therefore, the birth of code is more a symbol of the universal language and writing ability of human beings, rather than a specific one language. In this sense, I use code to create art is to think about contemporary society and technology. To a certain extent, it represents my vision for the future of mankind. That is, the country boundary gradually blurs until only its geographical significance remains. All mankind can work together to face the difficulties and problems encountered, and create a world of unity in the future.

 

3. The Mirror of Math

Mathematics is one of the laws existing in the universe, an abstract language and thinking tool used to study and describe patterns and relationships in natural phenomena and human activities. Although the development of mathematics is the result of continuous exploration and discovery by humans, the basic principles of mathematics may have existed at the birth of the universe. Mathematics is an independent and pure world, not influenced by any living being or physical event, while also being the foundation of the laws governing all things. Mathematics is an eternal and unchanging language, its application and understanding deepen with time and social development. Mathematics is the theoretical cornerstone of fields such as physics, engineering, computer science, and is essential for technological progress and economic development, representing the brilliant side of human rationality, and providing humans with tools to solve problems and innovate.

In my work, as the elements of mathematics have been embedded, the eternal side of mathematics is introduced. In the form of cryptography, the data and information in science and technology is given a contemporary aspect, representing the development of the modern world and the possibilities of the future. This is also expressed in some of my paintings. They depict not only a current state of time, but also a trend or possibility into the future. Nowadays, humans have created all the glory in technology, but perhaps in the near future, with the development of AI, technology would have promoted the evolution of humanity itself or even more radical changes, as the intelligent life form that existed at that time, what would they think about the origin and pursuit of the human beings that existed and their own?

For me, the creation of the codes is an attachment to the conservation laws of all things in the universe. When I see various lines or different shapes in a picture, it is like seeing a series of random numbers. I always want to find the pattern in this chaos that explains it and gives it a sense of meaning in a regular form of order. And in our lives, aren’t they similar? Both spiritual and material pursuits give us a meaning in life, and maintain its continuation through inherent laws such as a stable social system, morals, etc.

In addition to the code with the sense of order in my artworks, it is also accompanied by elements of randomness, and this reflects the events or emotions in our lives that are unpredictable or controlled.

So in a way, my work is not only like a cryptographic map with hidden information, but also a microcosm of life and a world in the form of symbols.

Therefore, when I use the math to create different code systems for my art creation, I am attempting to construct a completely new world in its purest form, a mathematical form mirrored by the physical world that we live in. In this new world, there is no trace of tangible living things. Instead, exist abstract expressions of feeling and reason, and the merging and struggles between them. Within these artworks, the use of code symbolizes the constant laws of our physical world and the various inherent methods of comprehending our reality.

 

4. Code Maze

In 2020, the global outbreak of the Covid-19 pandemic coincided with a significant personal experience: meeting Kristen, an American woman with whom I quickly formed a deep connection. Our relationship flourished until her return to the United States at the close of 2021, marking the end of our 645-day journey together. Coping with the aftermath left me in a state of profound sorrow, confusion, and despair throughout the first half of 2022. Surprisingly, it was during this period that I began incorporating maze-like patterns into my art, imbuing my codist works with new dimensions.

Code-maze art, an offshoot of codism, intertwines personal sentiments, life encounters, and societal observations, offering intricate layers of significance and interpretation through its complex maze designs and concealed code systems.

Firstly, the essence of code-maze art resides in its portrayal of life's intricacies and enigmas. The timeless symbol of the maze often represents life's convolutions and uncertainties. In code-maze art, the labyrinthine and perplexing nature of the maze directly mirrors the artist's internal turmoil and strife. This art form not only serves as an outlet for personal emotions but also delves deeply into life's journey, probing into uncharted destinies. As viewers navigate through the maze, they are not only appreciating the artwork's beauty but also engaging with life's twists and turns, pondering unknown destinies.

Secondly, code-maze art serves as a medium for societal scrutiny and contemplation. The complexity and secrecy inherent in the maze form can be likened to the intricate challenges prevalent in contemporary society. The interplay of truth and deception, the distortion of interpersonal connections, and the conflicts between order and liberty are all encapsulated within the labyrinthine construct. Simultaneously, the maze serves as a lens through which to examine social phenomena, shedding light on the darker aspects of society and resonating with human experiences. Through this art form, the artist endeavors to encourage viewers to deeply reflect on the multifaceted issues of today's society and the intricate tapestry of human relationships.

Moreover, code-maze art entails a dual exploration, encompassing not only the surface-level maze but also the deeper layer of concealed code systems, which encapsulate the artist's thoughts and emotions during creation. These codes are not just components of the artwork but also reflections of the artist's inner world. Viewers are encouraged to gradually unveil the meaning of these codes through profound interpretation and personal experiences, fostering a deeper understanding of the ideas and emotions the work seeks to convey. This dual exploration renders code-maze art not only aesthetically appealing but also a conduit for spiritual communion between viewers and artists.

Finally, the significance of code-maze art lies in its substantial development and expansion of codism. Codism emphasizes the reconfiguration of linguistic systems into visual or symbolic systems, integrating them into artworks. Code-maze art further amplifies and broadens this reconfiguration and integration. Through maze designs and concealed code systems, artists express more personalized and profound emotions and thoughts in their works, infusing codism with renewed vitality and creativity.

In essence, code-maze art transcends being merely an art form, serving as a profound reflection and exploration of life, society, and the essence of art. Through its intricate maze forms and hidden code systems, it presents rich meanings and connotations, guiding viewers into a challenging and inspiring artistic realm, fostering a unique artistic odyssey.

Ⅲ 主旨与意义

1. 象征意义

在架上绘画中,经常可以看到象征的痕迹,用某一物象或符号来表达一个概念或意义,人们常用白鸽与橄榄枝传达和平;用彩虹旗象征LGBTQ人群;用十字架体现宗教或死亡的概念。在我的艺术中密码成为我传递象征信息的一部分。

至今为止我通过数学的形式创造了过十套密码系统并将其融入到作品中。有时候一幅画是单一密码系统,有时则多套密码的重叠。每一套密码的呈现各不相同(或线条,或几何体,或形变的圆,或象形符号等),在不同的画作中,我会根据画的主题甄别不同的密码进而表达多元化的象征意义。因为这些密码都是通过数学处理形成的,而数学是当今一切科技进步的基础科学,因此这些密码在画面中的呈现有时能代表科学与技术;随着当今社会大数据和元宇宙的快速发展,而密码本身含有信息,因此它也象征着数据或虚拟世界的映像;因为密码本身是对信息的隐藏,所以有时又象征某种秘密或不被公众接受的思想。

在中国社会语境里,从古至今,由于政治、社会和文化的敏感性,很多话题和观点难以明说。这导致了很多思想需要通过暗喻或隐晦的方式来表达。古代诗词中包含了非常多的隐喻和象征,例如杜甫的“朱门酒肉臭,路有冻死骨”等。如此社会背景下,我创作的密码主义也融入了社会历史的特色。因此,我的密码主义艺术作品可以被视为对中国社会现实的一种反映,通过将信息隐藏在艺术作品中传达一些在公开场合无法直接表达的想法和观点,这种隐藏的信息可以是对社会现实的批评、对政治体制的思考,或者对文化传统的重新解读。同时,由于个人情感和内心想法往往无法自由地表达出来,密码主义艺术成为了个人内心世界的表达。在强权政治下,表达密码艺术的象征意义,可以被理解成一种对言论自由和个体表达权利的渴望。它代表着对权力和控制的反抗,同时也传达对自由和创造力的追求。运用这些密码系统,我能够在艺术这个层面传达出更深层次的思考和感悟,这种方式与当今社会现实中的言论约束形成了鲜明的对比,同时也反映出中国社会中个体和社会之间微妙关系的现象。

艺术的象征意义的传递建立在一个共同的文化背景之上。而在纯数学的一系列定理与证明过程中找不到任何象征元素,数学的世界非常纯粹,它只有推理与假设。我把这一带有数学性质的密码引入艺术中,在一定程度上是对象征主义的叛变,这也是我的作品要思考和呈现的过程。

 

 

2. 文字与沟通

在成为艺术家之前,我更多的创作是在文字上。从事绘画之后,加深了我思考绘画与文字之间的差别和联系。

阅读一段文字需要清晰且有条理性的思维以便理解文字中的含义,看一幅画却可以是散漫的,甚至可能是瞬间的感悟。阅读文字的过程如同一条狭小流淌的溪流,它在时间上是单一连贯的,它只能在阅读一个文字紧接着另一个文字后通过大脑清晰的逻辑整理并做出单通道式的顺序排列而得到理解。观赏一幅画却如同站立在一个光斑四射的湖泊边上,得到的是即时的感官上的或愉悦或震撼或悲伤等体验。前者是思辨的感悟,后者更多是感官上的体验。文字虽然受到时间的制约,然而它是表达思想最为理想的工具,因为语言是我们思考的基本方式,而文字则是其载体。画作有时是瞬间的冲击,对它的观赏可以不受时间的约束,当然,对于某些画作的理解仍需要清明的思维和时间的沉淀。

我的密码把文字的叙事性及其所需的理解能力等多种元素镶嵌入画面中,它使我的作品既在作为绘画本身所存在的即时感受外还隐含着如同文字般的渐进式理解性。密码的存在并不一定意味着营造一种障碍,迫使观众理解其背后所阐述的故事或意义,更多的是作为一个象征符号,一种能代表在阅读中所需的理解能力和由此获得的启示。

我的密码系统的注入给画作带来了除本身所具有的既视感外,也增添一种如阅读般的时间上的深度。

 

当一件艺术品被呈现出来的时候,实际上是艺术家对观众的一种非语言式沟通,它不具备语言沟通对信息的简明表达特性,艺术作品的信息也可能来源于偶发和无意识。艺术家与观众之间的这种非语言式沟通有时会很不清晰,因而并不是所有观众能接收到传达的信息。

传递信息最直接的方式是语言,在这一层面上,艺术是无法比拟的,同时也无需比拟,因为作为艺术家有时会隐藏要表达的信息,特别是当代艺术,通过各种不同的形态和呈现方式将想要表达的信息加以隐藏,如同在搭建一个复杂的迷宫,让观众一层一层地扒开以探求其中的意义。也许当代艺术的魅力之一正源于此,把一个信息通过解构重组让其具有某种神秘感来引起观者的兴趣,并引诱观者在解开谜团这一过程中或发现信息答案或得到最终解释后体验到一种愉悦感。因而艺术除了有直观的视觉享受和刺激外,也多了一份潜在的观者解密过程中所获得的快感,尽管这一信息本身可能是平淡无奇的。正如王尔德曾说过,“一经掩盖,最普通的事也会变得饶有趣味”。在这一层面而言,艺术是披着迷幻色彩的“谎言”,但正是通过这一“谎言”让观者更能体验到背后真理的可贵。

我那些以密码形式把信息隐藏起来的作品正象征着这一“艺术谎言”构建的过程。

 

我作品中的密码承载着信息,相当于一种信息载体,就像文字一样,但它又不属于现有人类所熟知的语言体系。我创建密码的基础是数学与艺术,这两者是人类所能理解和感受的东西,密码的诞生更多体现了人类创立语言文字的能力,而非特指某种语言。从这种意义上讲,我用密码创作艺术来思考当代的社会和科技,也代表着我对人类未来的憧憬,那便是国界的逐渐模糊直到其政治意义的消失,只剩下其地理意义,全人类能共同携手面对困难和问题,创造一个世界大同的未来。

 

 

3. 数学的镜像

数学是宇宙万物中存在的规律之一,是一种抽象的语言和思维工具,用于研究和描述自然现象和人类活动中的模式和关系。虽然数学的发展是由人类不断探索和发现的结果,但数学的基本原理很可能在宇宙诞生之初就存在。数学是一个独立于物理世界而纯粹的世界,不为任何生物或物理事件所左右,同时又是万物运行规律的基础。数学是一种永恒不变的语言,它的应用和理解随着时间和社会发展而不断深入。数学是物理学、工程学、计算机科学等领域的理论基石,更是科技进步和经济发展必不可少的根本,它代表人类理性一面的辉煌,也为人类提供了解决问题和创新的工具。

在我的作品中引进数学元素为之带来了数学那永恒与理性的一面。画中的密码象征着科技发展中的大数据与信息等,使我的作品具备了当代性的一面,代表着现今世界的发展及未来的可能性。我的画作描绘的不仅仅是当今社会的状态,更多的是未来的趋势或可能性。如今,人类创造了一系列科技上的辉煌,也许在不久的将来,随着AI的发展,科技会反馈促进人类本身的进化甚至更彻底的改变,在那时存在的智慧生命体,又会怎么看待曾经存在的人类以及自身的起源和追求呢?

密码的创作是对宇宙万物中一种恒定的执着。当在画面中看到各种线条或不同形状时,如同看到一系列零乱的数字,我总希望能从中找到解释它的规律所在,用已探索到的规律赋予它们一份存在的意义。在我们的人生中,何尝不也如此呢?不管是精神上还是物质上的追求,都给予了我们人生一定的意义,并通过固有的规律(稳定的社会体系、道德等)来维系生命的延续。

我的作品除了具有规律的密码外,也伴随一些随机的元素,而这也正映射着在我们人生中那无法预料和控制的事件或情绪。

在一定程度上,我的作品不仅仅是一幅隐藏着密码信息的地图,更是一种以符号象征的形式代表人生和世界的缩影。

因而当我利用数学知识创建不同的密码系统进行艺术创作时,也在企图以一种纯粹的形式构造一个全新的世界,一个用数学形式构造出的物理世界的镜像。在这个世界里,没有具体生物的痕迹,观者却能感受到感情和理智的抽象式表达以及它们之间的交融和斗争。密码的涉入则象征着我们物理世界的恒定规律和各种具有现实性指向的寓意。

 

4. 密码迷宫(2023年新增)

2020年Covid-19疫情在全球爆发,期间我认识了美国女孩Kristen,我们很快成为了恋人,直至她在2021年底回去美国才结束。我们645天恋情的终结让我难以释怀,在2022年的上半年,我处于极度悲伤、抑郁与迷茫的状态,但也是在这个时期,我开始把作品中的密码绘制成迷宫的形式,为我的密码主义增添了新的含义。

密码迷宫艺术作为密码主义的一种延伸,融合了个人情感、人生经历以及社会观察,通过复杂的迷宫形式和隐藏的密码系统,呈现出丰富的内涵和意义。

首先,密码迷宫艺术的意义在于其象征着人生的复杂与未知。迷宫作为一种古老的符号,常常被用来代表人生的曲折与不确定性。在密码迷宫艺术中,迷宫的错综复杂、令人迷失的特性,直接映射了艺术家内心深处的迷茫与挣扎。这种艺术形式不仅仅是对个人情感的抒发,更是对人生旅程的深刻思考,以及对未知命运的探索。观众在迷宫中穿行,不仅是在感受作品的美感,更是在体验生命的曲折与起伏,以及对未知命运的探索与追问。

其次,密码迷宫艺术也承载着对社会的观察与反思。迷宫形式的复杂性和隐蔽性,可以被视为对当代社会种种复杂问题的隐喻。社会中真相与谎言的交织、人际关系的扭曲、以及秩序与自由的矛盾,都在迷宫的错综复杂中得到了体现。同时,迷宫也代表着对社会现象的审视,其中既有对社会黑暗面的揭露,也有对人性温情与互助的呼应。通过这种艺术形式,艺术家试图引导观众深入思考当下社会的种种问题,以及人与人之间错综复杂的关系。

此外,密码迷宫艺术有着双重探索,它除了表层迷宫的探索和寓意外,还具有更深层的密码系统,这种系统隐藏着艺术家在创作时的思考与情感。这些密码不仅仅是艺术作品的一部分,更是艺术家内心世界的折射。观众需要通过深入的解读和亲身的体验,才能逐渐揭开这些密码的含义,从而更深层次地理解作品所要传达的思想和情感。这种双重探索,使得密码迷宫艺术具有审美性的同时,也成了观者与艺术家之间心灵交流的桥梁。

最后,密码迷宫艺术的意义还在于其对密码主义的丰富发展和延伸。密码主义艺术强调将语言系统重新编译成图像或符号系统,并融入艺术作品中,而密码迷宫艺术则进一步将这种编译和融合进行了深化和拓展。通过迷宫形式和隐藏的密码系统,艺术家在作品中表达了更加个性化和深刻的情感与思想,使得密码主义在其手中焕发出新的生命力和创造力。

因此,密码迷宫艺术不仅仅是一种艺术形式,更是一种对人生、社会以及艺术本质的深刻思考和探索。它通过复杂的迷宫形式和隐藏的密码系统,呈现出丰富的内涵和意义,引领观众进入一个充满挑战和启发的艺术国度,开启一场别具一格的艺术冒险。

Ⅳ Overview

Codism is the product of the collision between math and art. It has a very characteristic symbolic meaning in the performance of art, especially significant in the context of Chinese society. It organically integrates related elements such as written word and communication, math and logic, data and information, mazes and their implications into art, making codism, especially code-maze art, a uniquely charming form of expression in contemporary art.

Ⅳ 结语

密码主义是数学与艺术碰撞后的产物,它在艺术的表现中具有极富特色的象征意义,特别是在中国社会背景下显得尤其意味深重。它有机地把文字与沟通、数学与逻辑、数据与信息、迷宫及其寓意等相关元素融入到艺术当中,使得密码主义——尤其是密码迷宫艺术成为了当代艺术中一种独具魅力的表现形式。

初稿 Initial Draft:2019.12

修改 Revised:2023.12

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