Spatial Characteristics In Contemporary Print Creation

As an ancient art,Chinese prints have undergone a long and complicated change in the historical development process.Especially since the beginning of the 20 th century,with the introduction of Western modern and contemporary art,Chinese contemporary prints have experienced vision.The revolution of language and the reconstruction of artistic ontology.The theory explores the tool function from the sociological significance of the printmaking period in the emerging printmaking period,and emphasizes the artistic aesthetic value of language purification after the reform and opening up.However,in the exploration of contemporary art form theory,the spatial representation of printmaking works is often at the edge.Status.It has experienced the confrontation and blending of Chinese and Western cultures,and the collision and transformation between tradition and modernity.The spatial characteristics of contemporary printmaking works in different social environments and cultural contexts,which are consistent with the changes in contemporary painting and the art of publishing.Its own characteristics.Due to the limitations of inherent materials and the limitations of creative intentions,the expressions of prints before the 20 th century were limited by the depiction of a single space.The single expression of space exists both in traditional Chinese prints and in Western classical prints.Chinese traditional prints are influenced by the appreciation habits of folk art,and on this basis,they absorb the essence of the paintings of literati paintings,and present the decorative effects of planes based on line shapes;after the introduction of Chinese woodblock painting techniques into the West in the early 14 th century,Western classical prints are also limited by the performance of a single space,but contrary to China,it is an abstract three-dimensional depiction of sketches.Chinese and Western prints have different emphasis on spatial structure,but the single spatial performance is still the mainstream.The paradigm of this space has more or less hindered the development of contemporary printmaking.The turning point of printmaking took place in China after the reform and opening up.From the perspective of the vertical development of Chinese prints,with the renewal of contemporary cultural context and artistic thinking,the prints gained their own independent artistic value after they were separated from the functional meaning.In an independent and multifaceted appearance;in the horizontal contrast with Western prints,Chinese prints capture the nourishment of Western modern and contemporary art in the new era,break the three-dimensional perspective and break through the objective time and space constraints to achieve a diverse picture space expression.So far,the contemporary prints since the reform and opening up have gradually got rid of the singular characteristics of spatial expression in traditional prints,and the diverse spatial expressions have gradually been constructed in the contemporary context.This paper starts from the transformation of the format of printmaking space,and combines the superposition and coverage of silkscreen prints in the creation process,which is different from the operation process of traditional woodblock prints,and considers the evolution of ideas and unique spatial forms of contemporary prints.The image selects the architectural structure of interest in life and the color composition relationship in popular culture,trying to create an absurd meaning field in the work and push the exploration of the picture to the depth space.This deep print space is not the three-dimensional relationship brought by the traditional focus perspective,but the surreal atmosphere and multiple meaning spaces generated by the color and image overlay of a version of the screen print process.