本文主要讲的是运动与艺术，当我们提到造型艺术中身体运动与空间的关系时，Lucio Fontana无疑是最杰出的代表艺术家之一。自1949年以来，丰塔纳在一系列被称为空间概念的受限条件下，创造了暴力的洞作为他新的视觉语言(图16)。帆布的表面用白色油漆覆盖，或者在上面贴一张厚纸。1951年至1956年，他尝试用白色画布将立体效果由雕塑转化为浮雕，并逐渐重新唤起一种势不可当的艺术方式潮流。本篇essay代写文章由澳洲论文人EducationRen教育网整理，供大家参考阅读。
When we mention about the relationship between bodily movement and space in artistic presence of moulding, Lucio Fontana, is unquestionably one of the most outstanding representative artists. Since 1949, Fontana creates the violent holes as his new visual language in a series of restricted conditions called Spatial Concept(fig16). The surface of canvas was covered by white paint, or was attached as sheet of thick paper on its top. Between 1951 and 1956, he attempted to transform the three-dimensional effect from sculpture to relief through the use of white canvas, and gradually re-evoke an overwhelming trend of artistic way.
He used to describe ‘In order to move from holes to tears, I had to go through periods of decline’. In others words,when he intended to execute a progression from the moulding hole to the aggressive slash, he had to negotiate with his own creativity to get to the other extreme. According to what Jan van der Marck claims, Fontana‘slashed into an unsuccessful canvas, and suddenly realized the potential of the gesture.’ Then he concludes that ‘perhaps Fontana’s mutilation of the canvas can be interpreted as a symbolic escape from his aesthetic predicament of being trapped in an over weighted style’(Whitfield,1999, p.18). Regarding the style in terms of gesture and space, Fontana stated:
‘Nowadays, in space measurement no longer exists…the sense of time and measurement has gone…and that means that you are nothing, that man is reduced to nothing…When man begins to understand…that he is nothing, absolutely nothing, that he is pure spirit, his material ambitions will fade away…My art is based on this purity, or this philosophy of nothing – but it is a creative rather than a destructive nothing…The cuts, or rather the hole, the first holes, did not signify the destruction of the canvas – the abstract gesture of which I have been accused so often…it introduced a dimension beyond the painting itself; this was the freedom to produce art by whatever means and in whatever form’. (1969)
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