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也即，他的视觉呈现，不再是写实技术的那种“自然视域”，而是带有数码化的“主观视域”。这种转变，具体到画面则表现为：焦点透视感的体积，被转化为平面阅读感的体积；局面描写的空间性，与整体描绘的拼贴性相互结合；层层积染的色彩厚度与细节变化，被整合为一种视觉上的平展性。诸多的荧屏经验、数码经验，在修正写实技术背后的“肉眼世界”的同时，也使得刘志懿的作品在感官上凸显出全新的视觉编码方式。而这种编码方式的改变，不仅实现了架上绘画的语言转换，同时也实现了视觉观看方式的转变——以新视觉编码显现我们观看世界的新经验。对艺术而言，这似乎比提供新的视觉形象更具意义、价值，因为它向我们展现出不同于古典艺术的真正趣味：艺术不是再现某种“自然”或“观念”的简单载体，而是提示我们重新认识世界的“视觉手段”，是需要我们“自觉”于视觉存在的认知手段。
然而，作为观看、审视作品的人，我不能确定创作者的预设是否与我的判断相统一。正如，我无法判断刘志懿的作品出现上述感觉，是源于一种主动设定，还是某种经历、兴趣的偶然选择。但是，这似乎并不重要。因为艺术史的书写，更在意于一个艺术现象呈现的历史背景，以及它在历史逻辑中的形态，抑或观念上的演进，而非艺术家自己的主观设定。就此，作为刘志懿的同年人，我更希望能够从他的作品中读出我们生存经历的某种共通性，并因为这种共通性而理解当下正在发生的现象。很显然，刘志懿的创作给我们提供了这种可能性：他在真实与虚拟之间游走的主观体验，向我们提供了某别具价值的观看经验——关乎70生人的生存感受、关乎数码时代的视觉逻辑、关乎架上绘画的语言转换……
2011年3月6日于望京
Virtual, or Real?——“Visual Viewing” of Liu Zhiyi’s “Encyclopedia of the Emperor”
Hang Chunxiao
Successfully changing the real experience of a college education into a digital experience is a special point of 1970s’ artist Liu Zhiyi. Because of this, his painting gives us a different sense of illusion: building real “senses” in a virtual world. Here, “sense” is not referred to a vision biologically, but a historical “viewing” and “expressing”, that is, a method relating to space, structure, volume, color and brushwork formed in the visual experiences of art history. Without doubt, Liu Zhiyi learned this from his education at Central Academy of Fine Arts and has a firm handle over this in the creation of his paintings. Take for example the “Encyclopedia of the Emperor” series created in 2005. Although these works describe the virtual world, the visual language is “precise” and shows a strong sense of “reality” in spatial expression. As a result, Liu Zhiyi uses a “harsh” realistic method to create a visual deception: the “virtual” of image narration and the “real” of visual representation consist of a kind of sensory paradox.
Paradox always brings “chaos”. But the question is—the world is not as logical as we experience it in our daily life, therefore there is always a certain “depth” in paradox. I am not certain why Liu Zhiyi chose to create a visual paradox. Is it because of his academic background or the result of his love of science fiction and digital things? As an individual living in the same era as him, I could feel the “viewing world” suspicion through this kind of visual paradox. That is, a suspicion, denial and asking of “cognition” as we usually know it by. Just like the real visual details in his paintings, the realistic state is virtualized and the virtual becomes real. Hence, Liu Zhiyi’s paintings present an illusory uncertainty.
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