钞氏兄弟作品

钞氏兄弟（钞子艺，本科、学士;钞子伟，清华硕士.双胞胎兄弟）职业艺术家。

河南南阳人，同为中国美术家协会会员，中国雕塑学会会员，中国工艺美术学会雕塑专业委员会会员。毕业于河南南阳理工学院艺术系，先后在中央美术学院学习。现工作生活于北京 。

获奖

【第七届全国陶瓷展】《消失的家园》获“金奖”，龙泉

【第十一届全国美展，（雕塑展、设计展、陶瓷展）】中国美术馆《昨天》获“银奖”，

【中国－东盟国际商务区城市雕塑设计方案邀请赛】《硕果》获“银奖”南宁

【第二届韩国国际陶瓷双年展】《门》获“铜奖”，利川陶瓷馆，韩国

【抗日战争胜利55周年美术作品展】《支前》获“三等奖”， 全国政协礼堂，北京

【第七届亚洲艺术节主体雕塑展】《南国之光》获“三等奖”，佛山市政府，佛山

【第四届韩国国际陶艺双年展】《东方红》获“评委会精品奖”，利川陶瓷馆，韩国

【北京奥林匹克景观雕塑国际巡回展】《夙愿》，《硕果》“优秀奖”北京、上海/美国

【黄天厚土雕塑大展】《中国娃娃》获“纪念奖”，中华世纪坛，北京

【河南省第五届大学生科技文化艺术节】雕塑、绘画获“一、二、三等奖”

上帝造物

文/ 钞氏兄弟

每次熄完炉火，等待开炉的前夜，我都会陷入夜不能眠、焦躁不安的状态中。可是作品开窑后往往会出现崩塌和烧焦的状况，这总会使我的情绪极度的沮丧和失望！但有时候又会从一堆破损的陶瓷碎片里发现一些被烧制成精美绝伦、神秘的东西。正是陶瓷材料的这种神秘感和强烈的挑战性深深地吸引着我们，并为之深陷其中，不能自拔… …

我常会为一件刚出炉的烧制得比较完美的作品，欣喜若狂、半疯半颠、如醉如痴，这时甚至感觉它身上的瑕疵都变成了漂亮的装饰品。太神奇、太温润了。我常会驻足在它面前，看着那一阵阵缓缓上升的热气在空气中消散而去，心中总会涌动出一股股暖流。一次次、一遍遍地亲吻和抚摩着它，生怕一不留神它就会从我的面前消失。那是一种甜酸的、喜悦的痛感。是快感、是惬意、是意犹未尽，又是爱不释手。太神奇了！这是大自然造物主的恩赐，这是九曲回肠，百炼成丹，上帝的杰作… …

The hand of god

CHAO BROTHERS

We lay awake all night and felt restless on the eave of blow-on night after putting out the firelight. However, the dilapidated and scorch situation always happened to these works after the kilning, which made us depressed and disappointed. But sometimes we found some excellent and mysterious works among a pile of ceramic fragments. It was the mystery and challenge of ceramic material that deeply attracted us and made us unable to get away from them.

I was usually mad with joy and became half out of my mind for the new fired work, sometimes I was even crazy, and it seemed all the blemish turned into its adornments. It was so amazing, warm and humid. I often stood in front of them and saw the rising hot-gas disappeared, and then there would be a stream of warm current from my heart. I kissed and touched them again and again, for which I was thinking they would disappear from my sight. It was a kind of sweet and joyful pain, pleasant sensation, satisfaction, and enthusiasm. It was so miraculous. This was the favor of natural demiurge and masterpiece of sad and depressed feeling, and it was the tempered classic of the god.

“红色机器”自述

文/ 钞氏兄弟

《东方红系列》又名“红色机器”，是我们兄弟近几年一直关注的题材之一。“东方红”又是“红色中国”的代名词。自中国红色政权建立及巩固以后，“东方红”便以一个特定的符号登上了中国历史的舞台。而东方红拖拉机就是这一时期工业发展的典型代表。因为它的诞生宣告了中国农业开始走上工业机械化作业的道路。它也寄托着中国老一辈拓荒者的希望。老火车、解放车同样承载着这一时期的建设者的梦想，也承载着我们民族复兴的希望。

我们从早期的《东方红系列》（拖拉机、红旗轿车、解放车、蒸汽机等）到后来关注当下中国的社会现象，一直沿着一条“红色路线”奋力潜行。希望以此唤醒当下更多的国人对那些已失去和消逝的记忆的思考。

中国拥有着几千年的文明史，在这几千年里经历了太多的苦难，承载了太多的重负。一代又一代的人们在一次又一次血与火的洗礼中伴随着青春的逝去而退出了历史的舞台。而那些曾经承载着这些历史使命的“工作马”不是被人遗弃在角落里，就是被打入冷宫。如今的它们或红锈班驳，或铁制嶙峋。

在那个感性冲天，理性放假的年代；在那个战天斗地、摧枯拉朽、被红海洋浸没的年代；在那个被我们今天看来多么荒谬、无知、可笑的年代，作为那个时代的交通工具———老火车、解放车……，也同样承担着太多的使命。当年那些天不怕、地不怕的红卫兵和知青们无不是乘坐着这些红色机器，走遍祖国的神州大地，去实现他们的“伟大梦想”。这些“工作马”见证了无数个血与火，爱与恨，恐惧与争纷，生离与死别的场景。而如今它们静静的躺在被人们遗忘的角落里，但我们却依稀能从那布满灰尘的身躯上，看到它们所散发出来的炙热光辉。

我们兄弟多年来一直置身于作品语言与泥土本质的探索与研究，一直在寻找把陶瓷语言与雕刻塑造相结合的路子，从而既能揉进泥土本质——自然朴素的语言，又可加入雕塑造型——视觉张力的冲击元素。不管是细致入微、千锤百凿的刻画，还是大刀阔斧、随意洒脱的豪迈，都力争使作品以一种最真实、最自然的状态呈现出来。这既是一条充满艰辛、布满荆棘的曲折之路，又是一条诱人奋进、激人进取的挑战之路。在创作初期为解决制作上的高难度成型问题，我们的神经之弦一直都处于紧绷状态，然后又要承受在烧制过程中随时可能出现的坍塌、断裂状况的煎熬，几个月的辛劳很可能就会被一把火烧得前功尽弃，所有的努力都将付之东流。而正是泥土这种在经历过烈炼后所呈现出来的惨烈和神奇之处，诱使着我们兄弟沿着这条道路坚持不懈地走下去。

“记忆承载观念”这也是我们兄弟多年来呕心沥血“炼造”出来的“成果”。不刻意去粉饰华丽的外衣，做一个虔诚的艺术殉道者，默默的，也用最朴素、最诚恳、最真实的语言来表达我们对自己作品的诠释… …

2008年于索家村工作室

The Red Machine

CHAO BROTHERS

“The Eastern Red”is also named as “The Red Machine”, which is a focus of both of our brothers in recent years. “The Eastern Red” is also a synonym of “Red China”. Since the communist party took power, “The Eastern Red” has become a special sign in Chinese history. The tractor with the brand of “The Eastern Red” served as a typical representative of the industrial development in that time, whose birth was a declaration of the mechanization of Chinese agriculture, and which the old generation of pioneers placed hopes on. The old trains and the liberation cars both carried the dreams of constructers in that time and the hope of national resurgence.

From the early “The Eastern Red Series”(including tractors, Hongqi cars, Liberation cars, steam engines and so on.) to social phenomena in contemporary China, the works of both of us cohere along a red road, with which we hope we can awaken more Chinese to the passing memory.

China has a five-thousand-year history of civilization; however, china has experienced too many disasters and shouldered too many burdens in modern history. Those who devoted their youth and energy to our country in that time have withdrawn from the historical stage, so have those “working horses” which are the witnesses of the history, but now abandoned in the corner, rusted.

The old trains and the liberation cars as transport vehicles shouldered too many missions in that time when emotion replaced reason, when there was a sea of red everywhere, when people seemed ridiculous in the eyes of people today. The formidable Red Guards and literate youngsters were taking these transportations to realize their amazing dreams in different areas in China. These “working horses” witnessed numerous scenes of blood and fire, love and hate, horror and conflicts, and departures. Now they stay silently in corners forgotten by people; however, they still radiate a glow of light through dust all over their bodies.

Elements of the nature of clay have been combined into our work because years of exploration and research of the nature of clay and language of works by both of us. We are trying to present our works in the most real and natural way both in the subtle and broad expression. It is the fruit of our two brothers through many years of hard work that memory carries concept. We would rather use the most plain, genuine and real words to explain our works with an attitude of a pious martyr to arts, than pursue magnificent appearances.

2008

BeiJing SuoJiaCun Chao's brothers studio