布里翁·吉辛(Brion Gysin)高清作品《火烧》

作品名：火烧

艺术家：布里翁·吉辛

风格：行动绘画

类型：抽象

《火的卡利格拉菲蒂》是根据吉辛用日本油彩画成的十面折叠式小和服改编的。这部作品《1965年夏日大火》的形式和主题都是决定性的，但在试图完成最后一部大型作品时——“我一直想画一幅大图”——吉辛试图超越早期的画面，留下他的远见和力量的确切表述。这是一幅在画布上绘画的永久性、持久的作品，它将弥补命运的紧急性和变幻无常，以及他自己具有自我毁灭性的倾向。这一次，这项工作将继续作为证据和验证。这将是艺术家的最后作品，一个，将作为视觉艺术的证明，这是一个杰出的职业，而不是闪闪发光的职业。吉辛没有工作室，他的经济问题使得绘画和储存大型作品变得不可能，而卡利格拉菲特之火也不可避免地是一种补偿——看看如果生活不再那么专横，命运更加仁慈，那会怎么样。这幅画将例证平淡无奇、残酷的环境所否定的一切——大到足以填满画廊，大到足以填满生活。（Ian MacFadyen）

Title:Calligraffiti of Fire

artist:Brion Gysin

Style:Action painting

Genre:abstract

Calligraffiti Of Fire was based upon a small ten-panel fold-out makimono, upon which Gysin had drawn with Japanese oil pastels. Both the form and the theme of this work, Summer Fires 1965, were decisive, but in attempting to make a final large work — I had always wanted to paint a big picture — Gysin was seeking to transcend the earlier picture and to leave a definitive statement of his vision and his powers, a permanent, lasting work in paint on canvas which would make up for the exigencies and vagaries of fate, and his own auto-destructive proclivities. This time, the work would remain, as evidence and validation. It would be the artists final work, a summa which would stand as testament to a visual art which had been an illustrious vocation rather than a glittering career. Gysins lack of a studio and his financial problems had made the painting and storing of large works impossible and Calligraffiti of Fire is inevitably a form of redress — see what might have been, if life had been less arbitrary, and fate more kind. The painting would exemplify everything which prosaic, cruel circumstance had denied — big enough to fill a gallery, large enough to encapsulate a life. (Ian MacFadyen)