1的N次方，表示著N個1相乘之后的乘積，而“乘”是突破了“加”在一維線性上的量變關系，形成了質的突破構建出了二維的平面。在藝術家吳益文看來1是如同時空的奇點，是一切事物的最基本單位，它是世界原始的混沌狀態，至簡至純。所以在吳益文的藝術作品中“1”是“點”，它的“加”是“線”，“乘”便是“面”，而無數的點、線、面相結合、膨脹、堆積便構成了我們所處的這個三維世界。它是西方哲學理論中世界是統一的物質的世界，也是中國傳統道家“道生一，一生二，二生三，三生萬物”大道規律下的世界。在海德格爾《藝術作品的本源》中也認為藝術作品建立了一個世界并制造大地，物便是作品的大地因素，創作是讓某物作為一個被生產的東西而出現，作品把物因素置入敞開的領域中加以顯現。
本次展覽中的作品分為兩個系列，分別以超輕粘土和電子元件作為創作材料，這兩種材料載體本身都是人類工業文明的產物。取之于自然中的物，是在人類工業生產活動中進行了解構和重構，再解構和再重構后的不斷循環過程后，所幸存的物。在《詩人何為》等文中，海德格爾注意到了我們這個由技術所統治的時代，物早已變的畸形，成為可供計算的市場價值。電子元件系列作品中，洞洞板成為作品的載體，藝術家將自己被動地置于材料板面的限制中，運用每一個單獨的元件凝聚大量的時間，將其肆意的組合，在色彩上進行了單純的色域處理，畫面給人的第一印像是極其冷靜的。但久而觀之過后，會發現在理性克制的畫面中充斥著藝術家對于自身藝術認知的張狂和不拘一格的叛逆。回顧藝術家之前的作品，他試圖不斷在理性中尋求無限的擴張，創造屬于自己的世界。
超輕粘土最早于2007年誕生于德國，后廣泛運用于全球的少兒藝術教育中。由于其廣大的市場普及度和輕便易塑的材料特質，使得它被扣上了廉價、低幼、簡便的帽子。而藝術家選擇這樣年輕低廉的材料，充分利用它的材料屬性，保持其密封狀態，一點點地撕開外包裝，風干，再撕開一點，再風干，如此往復。在長達一個月的時間使之完全固化后，再進行上色，一遍一遍的通過時間的介入，使作品呈現出新的不同于材料本身的金屬、水泥等材料的質感，使其充滿例外的驚喜。正如格林伯格論新雕塑時所說的，新雕塑提供了“物質是無實體的、無重量的，只像一個幻象一樣存在”的幻覺一般。而幻覺便是賈德所說的作品需要的最必要的因素“有趣”。超輕粘土所帶來的材料本身的輕便和作品所產生的厚重的幻覺之間的沖突，展現出近似童真的有趣。
海德格爾認為“藝術作品遠不只是物的因素，它還是某種別的什么。這種別的什么就是使藝術家成其為藝術家的東西”。而在我看來，吳益文的作品中，承載作品的“物”，便是無數的“1”，而“某種別的什么”便是薩特所描述的“各各他上空中那一道黃色的裂痕”，便是藝術家在人生中關于自我藝術追求的那個N次方，它代表了藝術家人生中所有的情緒，也塑造了藝術家自身的存在。
牟 俊
2019.09.09于重慶文理學院
The N power of 1 represents the product after the multiplication of N 1, and "multiplication" breaks through the quantitative relationship of "plus" on one-dimensional linearity, forming a qualitative breakthrough to build a two-dimensional plane. In the artist Wu Yiwen’s view, 1 is a singularity of the same time and space, and it is the most basic unit of everything. It is the primitive chaotic state of the world, and it is simple to pure. Therefore, in Wu Yiwen’s works of art, "1" is "point", its "plus" is "line", and "multiplication" is "plane". Countless points, lines, and planes combine, expand, and accumulate to form the three-dimensional world in which we live. It is a world in which the world is a unified material world in Western philosophical theories, and it is also a world under the laws of the traditional Taoist "one produce two, two produce three, three produce all things". In Heidegger’s "The Origin of Artistic Works," it is also believed that artistic works have established a world and created the earth. The object is the earth factor of the work. Creation is to make something appear as a product. The work puts the material factor into the open field to appear.
The works in this exhibition are divided into two series, which use ultra-light clay and electronic components as creative materials. Both of these materials are themselves products of human industrial civilization. The things taken from nature are the things that survived after the continuous cycle process of understanding and reconstruction, deconstruction and reconstruction in human industrial production activities. In "how poet to do" and other articles, Heidegger noticed that in our era ruled by technology, things have long become deformed and become market values that can be calculated. In the series of electronic components, the cave plate becomes the carrier of the work. The artist passively places himself in the limitation of the material plate surface, uses each individual element to condense a large amount of time, arbitrarily combines it, and carries out a simple color gamut on the color. Processing, The first image of the picture is extremely calm. However, after a long period of time, it will be found that the picture of rational restraint is full of artists ’arrogance and eclectic rebellion of their own artistic cognition. Looking back at the artist’s previous works, he tried to constantly seek unlimited expansion in reason and create his own world.
Ultralight clay was first born in Germany in 2007 and was widely used in children’s art education around the world. Due to its wide market popularity and the material characteristics of lightweight plastic, it has been labeled as cheap, low and simple. The artist chooses such a young and inexpensive material, making full use of its material properties, keeping it sealed, tearing apart the outer packaging bit by bit, drying, tearing a little bit, and drying again, so on. After a period of up to one month to completely solidify it, color it again and again. Through time intervention, the work presents a new texture of metal, cement, and other materials that are different from the material itself, making it full of exceptions. surprise. As Greenberg said about the new sculpture, the new sculpture provides the illusion that "matter is non-physical, weightless, and only exists like an illusion." The illusion is what Judd calls the most necessary "interesting." The conflict between the lightness of the material itself brought about by the ultra-light clay and the heavy illusion produced by the work shows that the approximate innocence is interesting.
Heidegger believes that "artistic works are far more than just things. It is something else. This other thing is what makes an artist an artist. " In my opinion, in Wu Yiwen’s works, the "things" that carry the works are countless "1", and "something else" is what Sartre described as "a yellow crack in the air.", It is the N power of the artist’s pursuit of self-art in life. It represents all the emotions in the artist’s life and also shapes the artist’s own existence.
Mou Jun
2019.09.09 at Chongqing University of Arts and Sciences
