他是高超的圖形和藝術(shù)玻璃設(shè)計(jì)者和工匠、畫家和藝術(shù)家。在第一眼看到極端敏感的繪畫作品時(shí)就贊同了他的藝術(shù)天分。他的畫顯示了存在于孤獨(dú)中的人性和他的“人性狀態(tài)”，身于獨(dú)處和擁擠不堪中的空虛。來自內(nèi)心騷動(dòng)的完整表現(xiàn)，像一位飲酒的女子喝下了一杯痛苦，或者是她無法承受下去。高個(gè)子的母親，頭發(fā)連著太陽和能量神秘之源，還有她們大大的步子、呼吸和行動(dòng)。伯爾尼的藝術(shù)學(xué)校，曾生活在瓦爾多的精神療養(yǎng)院，后來居住的、充塞著作品的公寓，這些是薩科瑟先生的重要生命過程。
Philippe Saxer – illustrator, painter, skilled artistic glass maker – artist. This is clear from the very first view of his extraordinarily sensitive drawings. Philippe Saxer's paintings show the human in the seclusion of his existence, his "condition humaine", pictures of the loneliness of too crowded emptiness. Pictures of an entireness gnashing from inner turmoil. The female drinker drains the cup of sorrow, or she is not able to hold it anymore. Mothers are tall with their hair connecting them with the sun and with secret sources of energy. Big are their steps, their breath, their action. School for arts and crafts in Berne, partly psychiatric hospital Waldau, his own appartment .. these are some important points of Saxer's biography.
我們?cè)?jīng)一遍又一遍地問著，精神意識(shí)的疾病是幫助還是妨礙了藝術(shù)的表現(xiàn)？我認(rèn)為都不是。真正的藝術(shù)天才，如同精神疾病者一樣稀少，也如同精神健康者同樣稀少。沒有人僅僅因?yàn)榫駟栴}而變成了藝術(shù)家。盡管一種疾病有可能把某種東西移植到人類的內(nèi)心，使得多年被埋沒的東西瞬間地、毫無準(zhǔn)備地噴涌而出，但是，藝術(shù)的創(chuàng)造只有具備了創(chuàng)造性的潛能才可能像火山一樣噴發(fā)出來。生命有著痛苦，生命意味著背著十字架而前行。薩科瑟先生在畫里的十字架，盡管如同堅(jiān)硬的斧子，但仍充滿了活力。
Again and again the question is raised whether or not a mental disease supports or impedes artistic expression. I think: neither/nor. True artistic talent is as rare with mentally ill people as with healthy ones. Nobody becomes an artist just because he or she is mentally ill. Although it is possible that an illness shifts something in the inside of a human being and something buried for years or even decades breaks out totally unexpected. However, the artistic creation can only come into flow or even erupt like a volcano provided the creative potential exists at all.
Life hurts. Life means bearing the cross. However the cross of Saxer in his drawings - even with its rigid axes - is in itself full of dynamic.
薩科瑟先生的畫大多數(shù)是黑白作品，有一種羞怯和一種專注。有時(shí)候也加上紅色，據(jù)說紅色代表了愛，但雜亂的紅色則意味著死亡。在他的作品里，死亡是一位常客；畫里的線條如此抓人，常常越過了畫紙的邊界，走向一個(gè)無知無界的自由空間，卻沒有離開我們，迫使我們思考和決定我們將走向何處，跟隨著走向無法通過、充滿了越來越多死結(jié)的巨網(wǎng)，無窮無盡，也許會(huì)出現(xiàn)一個(gè)夢中的出口，或者回到我們自己的心靈。每次欣賞我們都會(huì)發(fā)現(xiàn)新的視覺感受。
Saxer's drawings are mostly in black and white. A form of modesty and concentration. Sometimes red is added. Red is love it is said and red rhymes with dead. Dead is a frequent visitor in Saxer's work. The lines of his drawings are captivating, often go beyond the page margin, beyond the limitation out into the unknown or possibly into total freedom. However, they do not leave us, but they force us to make our own decision if we want to entrust ourselves to them, to follow them into the impassable, into a net of increasingly more knots, into a boundlessness, maybe the emerging of undreamt possibilities, or if we want to return to ourselves. Every time enriched by a new visual experience.
薩科瑟的畫還能打動(dòng)我的是畫中多重的含混不清。我記得幾年前他給我看了一個(gè)玻璃窗的設(shè)計(jì)，玻璃有色的部分裝飾了線條，我驚奇地想知道，他如何把相對(duì)的部分不僅中和起來，而且表達(dá)出了同等關(guān)系的某種對(duì)話，還重點(diǎn)強(qiáng)調(diào)了不同的材質(zhì)、技巧、形狀、色塊以及線條構(gòu)圖。
What strikes me again and again about Saxer's paintings is their multiple ambiguity. I remember that some years ago he showed me designs for glass windows in which coloured glass parts were combined with linear drawing. I was impressed how he succeeded not to neutralise opposing parts, but to initiate a dialogue of equal partnership, emphasizing the features of the different materials, techniques, forms, the colour surface as well as the line.
玻璃繪畫里多重層次變得伸手可及。薩科瑟的畫經(jīng)常在躁動(dòng)的色塊里出現(xiàn)毛筆的線條，土褐色、灰色、棕色及黑白色充斥其間。但是，他卻用較少的繪畫空間，更多表現(xiàn)了不同比例和觀念的沖突。當(dāng)發(fā)散的人物逐漸消失而不能觸及和構(gòu)想，我們就不能再打攪?yán)锩娴碾[秘。
In glass painting these multiple layers become tangible. Saxer's paintings often show brushstroke drawings in a turbulent coloured area, whereas earth tones, grey, brown, black and white often prevail. Thus, the excellent draftsman succeeds in expressing himself ambiguously also in painting. However, this is done less by using pictorial space, than by confronting various views and proportions. In the colour resolution, when figures in diffuse paint mist look inapproachable and unconceivable, it is no longer for us to infringe such privacy.
他像大師一樣把內(nèi)容、形式、無序和隱秘等在一個(gè)畫面中沖撞和對(duì)話，我是通過一位偶遇他的人才了解到這位藝術(shù)家和他的藝術(shù)作品。當(dāng)然，他生活的不同層次我也無法熟知，但我認(rèn)識(shí)他并且理解他的作品。我簡單地感覺到，他這些含混式的作品，來自他多層多面的人格，同環(huán)境和社會(huì)沖撞和燃燒。作為當(dāng)代藝術(shù)家，要用任何方式表現(xiàn)真實(shí)的繪畫變得無比艱難，而薩科瑟的畫卻創(chuàng)造了自己的真實(shí)和誠實(shí)。這是一種深層存在的藝術(shù)，表現(xiàn)著生活的痛苦和臨近的斷裂。
The artist masterfully succeeds in letting content and form, archaic as well as private aspects, start a dialogue in the drawing. I know Philippe Saxer just a little bit from some encounters with him personally and with his artistic work. However, he has so many different facets that it would be presumptuous on my part to say that I know Philippe Saxer, that I know who he is and could interpret his work. To all this I am not entitled. I simply feel that his ambiguous work comes from his multi-layered seismic, multi-faceted personality, that it confronts and inflames the environment and its events, while in the drawing a particularly appropriate form can be found which is not stopped by any technical problem. For contemporary artists, it has become incredibly difficult today to show a picture of reality in whatever form. The drawings of Saxer create their own reality, which is honest and true. It is a deeply existential art. Therefore it can also not exclude pain and impending rupture.