方敏儿
十三个播放着电影片段的小屏幕，分置于十三张油画作品旁边，这是石玩玩新的个展“正如你所见，你也可以拥有”的系列作品。他看过的这十三部电影中用来布置场景的油画作品，曾经只为影像而生，而今被石玩玩绘制成真正的油画作品，与影像并置展出。
跟很多人一样，石玩玩爱看电影。作为艺术家，电影里出现的那些绘画作品引起了他的兴趣。 石玩玩将原本只是电影里出现的，用于布置场景的一件件道具画作，那些为了制造影像的幻觉现实而有的“作品”，脱胎成真实的绘画作品，在此展出。该作品所脱胎的母体，就在作品旁边小屏幕反复播放着的影片中。从中，我们可以得到它作为一个道具曾经存在的证据，也可以看到它在电影的幻觉现实中的另一种存在。
在当代艺术中，电影也是作为一种视觉资源和技术手段借鉴和挪用，成为绘画艺术形式的图像来源，电影跟绘画本身各自拥有独特的视觉语言与形式感，而两者之间的关系在这系列作品中更显得非比寻常。
电影虽然是由一个虚构故事或根据真实的故事再重新改篇而成，但制作成电影的元素则要求真实性…“真实的”布景成了绝对和普遍的要求… 在电影里现实与虚幻的辨证组合是电影艺术的主要特征，当代的影视艺术中的图像是以真人表演的逼真性或数字化科技手段创造出来的虚拟性却又在十分逼真的空间来牵引人们的视线 ， 例如：以真实的人（演员）去演译一个人物角色、所有道具背景都是“被设计”过的“真实”物品。电影这种虚拟的现实视觉空间造就了石玩玩创作出具意义的视觉艺术作品。
这系列的创作中，石玩玩运用这数字科技化的复制产物－电影，并凭双眼与自己的推测去复制电影某一虚构但超逼真的一幕，当中的一个元素－一幅绘画， 并再将之直接成为一张独一无二、具有原真性的绘画（由于石玩玩只能依靠电影片段亲手临摹作品，所以肯定跟电影中作为道具的那张真实绘画是不一样的。）
在20世纪时的美术史中，很多艺术家透过绘画这形式以多方位和多层次地试验各种各样的观念技法和材料。这次展出的绘画作品便不只是一张传统形式的绘画而已，在这系列作品里，虽然油画是占着非常重要的位置，但绘画中的各种基本元素包括题材方式 、线条、材料与技法则是相对次要的，所有绘画的体裁均是来自不同形式与时空及国度的虚构而“真实”的电影空间里的一张虚拟但逼真绘画，之后艺术家再将之直接绘画成为一张唯一的、具原真性的油画，并摆放在现实空间里真实地呈现给观众 。石玩玩巧妙地将电影在现实与虚幻之间的独特性，再结合绘画本身的特别之处，开阔了绘画与电影相互之间的发展可能性。
绘画的一个特别之处是运用动作中某一顷刻，所以就要选择最富于孕育性的那一顷刻，使得前前后后都可以从这一刻中得到最清楚的理解，再加以想象理解 ，而石玩玩则有意利用电影这一媒介去延伸和深化绘画这一特征，他在所选取的多套电影里的空间中，不只是纯粹复制定格了具孕育性或重要性的一刻，而是再复杂地进入那一刻的空间，并选取里面所出现的一张画，之后临摹那张绘画，甚至是画框，令作品超出了对“原作”简单的直观描绘，它更深层地混淆了现实空间与虚拟的真实之间的边界，这些真实的绘画的存在，是需要依靠电影里那个高度逼真的虚拟世界再延伸出作品的意涵，它更尝试让观众进入一个既具有电影中的戏剧性的虚构但逼真的领域，但同时让观众透过绘画的真实存在而陷入在一个独有而疑幻疑真的复杂空间之中 。
石玩玩的创作手段，是让观众利用可触碰甚至乎可拥有的真实物件－十三幅绘画－作为一个入口，并透过电影艺术里独有的虚拟又超真实的世界，再进入那世界的某一顷刻中独有的复杂空间，才能体验到作品背后的体裁，这种进入多维空间的经验，开拓了绘画形式之界线的一个可能性。
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方敏儿，独立策展人
本文为石玩玩个展《正如你所见，你也可以拥有》前言
by Janet Fong
Thirteen oil paintings placed next to thirteen small screens playing movie clips: this is the series of works that makes up Shi Wanwan’s new solo exhibition, As you can see,you can also possess it. The thirteen oil paintings were once used as scenery decorations in movies Shi saw. While they were once made solely for the films, now Shi Wanwan has painted them into real artworks and exhibited them alongside the videos.
Like many people, Shi Wanwan loves to watch movies. As an artist, he became interested in paintings that appear in movies. Shi Wanwan took those prop paintings that were originally used as scenery decorations, “artworks” that only exist to produce a film’s sense of illusory reality, and recreated them as real oil paintings for this exhibition. The body from which the artwork was born is the film clip played on repeat on the small screen next to the work. From this, we can the evidence of how they once existed as props. We can also see the other existence they had in the films’ illusory realities.
In contemporary art, film is treated as a visual resource and a technical method to reference and appropriate, becoming a source of images for the artistic form of painting. Film and painting each has its distinct visual language and formal sense. In this series of works, the relationship between the two mediums is made extremely exceptional.
Although movies are either created from a fictional story or by altering a true story, the elements that compose a film must have a real quality. A “real” set has become an absolute and universal requirement. The dialectical synthesis between the real and the imaginary within a movie is the primary feature of film art. The images in contemporary video art use the verisimilitude of real human performance or the artificiality of digital technology to lead the viewer’s gaze within an extremely lifelike space. For example, when using real people (actors) to interpret a character’s role, all of the props in the background are “real” objects that have been “designed.” This sort of fabricated real visual space in movies contributes to how Shi Wanwan creates meaningful visual artworks.
In this series of works, Shi Wanwan uses a digitally reproduced product, film, and relies on his vision and on his own inferences to reproduce fictional yet very realistic scenes, wherein one element is a painting. He then mechanically transforms these into unique, authentic paintings (though because Shi Wanwan must copy from the movie clips by hand, they are certainly different from the real prop paintings in the films).
In twentieth century art history, many artists used painting to conduct experiments concerning technique and material from various standpoints and theoretical levels. The works exhibited are not merely traditional forms of painting. In this series of works, although the medium of oil paint plays a very important role, other elements of the paintings, including theme, line, material and technique, do have a lesser importance. All of the painting styles come from the artificial, yet realistic, paintings in the fictitious, “real” film spaces, which also come from different genres, times and nations. Afterwards, the artist takes these works and mechanically paints them as unique, authentic oil paintings, placing them within a real space for the audience. Shi Wanwan cleverly uses film’s unique ability to straddle reality and illusion and integrates the particular characteristics of painting to unlock the artistic potential that lies between painting and film.
One unique characteristic of painting is its deployment of a single instant. Therefore, the painter must select the instant that is most rich in significance, the moment that allows the full context to be clearly understood, to which is added the understanding provided by imagination. Shi Wanwan deliberately uses the medium of film to extend and intensify this characteristic of painting. He doe not merely copy or freeze the frames that were important or meaningful; rather, he enters into the space of the moment with an attention to its complexities, selecting the paintings and copying them (even including the frames), allowing the works to transcend simple direct portrayal. He profoundly blurs the border that lies between real space and fabricated reality. The existence of these paintings must rely upon the high degree of verisimilitude in the films’ fabricated worlds to extend their meanings. They try to compel the viewer to enter into a realm that simultaneously seems like life and possesses a movie’s sense of dramatic fiction. Yet at the same time they allow the viewer to get caught up in a unique and ambiguous space through the real existence of the paintings.
Shi Wanwan’s creative practice is to allow the viewer to use the thirteen paintings, these tangible, even obtainable, objects, as an entrance point. Then, through the fabricated yet hyper-real and unique world in film, the viewer may enter into the complex space of a single instant. Only then can the viewer experience the genre that underpins the works. The exp erience of entering into a multi-dimensional
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Janet Fong, independent curator
This is a preface to Shi Wanwan’s personal exhibition As you can see, you can also possess it