制造的记忆与真实
田太权的摄影作品往往被归入观念艺术的范畴。然而，这个提法在突出其作品的创作观念的同时，在根本上通约了摄影这个创作手段本身的特殊意义与艺术家在这一门类本身所取得的突破。
It is included in arts of Tian Taiquan’s photography for reason of the conception of his works, expressive methods, particular meanings and artist himself.
自1839年欧洲出现照相技术以来，对于再现真实的追求便从西方架上绘画的阵地中逐渐退了出来。这一进程被视为工业社会与技术文明影响现代艺术发展的一个重要途径，但同时在很长一个时期内，也将照相拘于写实的桎梏中，新闻性与纪实性成了照相的首要追求，而对于传统的摄影艺术家而言，利用摄影的技术手段来“再现”对象或感觉，则成为创作的主要途径。无论是摄影的技巧还是暗房冲印的技术，所能带来的仅仅是再现基础上的有限改变与创造。
The photography turned up in 1839, which shocked the position of painting, one of the most influential expressions of reality. The achievement has been regarded as one of the effective influences of modern arts from the fields of industry, technology and culture. Nevertheless the function and purpose of photography has been limited in keeping the record of reality for a long time. To the traditional photographers, the primary means of creation consisted in representing either the subject or feeling by photographic skills and film development technology.
田氏作品的一个重要特点即在数码技术的帮助下完成了对于特殊场景的“制造”，从“再现”向“制造”跨越这一过程中，技术手段达成的图像嫁接与形象修饰成为场景营造的必要保障，进而成为其观念表现前提。在以往的采访与文字中，出于一个艺术家的自我考量，田太权往往并不愿意过多涉及技术层面的内容，但是，摄影“制造”这一形式本身，的确是构成其艺术观念的一个重要因素。
The typical character of Tian’s works is transferring “representation” into “creation” by digital technologies including image graft and figurative decoration. It is considerate that Tian Taiquan was not likely to talk too much of the technologies. Nevertheless, it is no denying that the artist’s thought is composed by creation and its forms.
以系列作品《裂》为代表的一批创作，奠定了田太权这一创作思路的基础。在这些作品中，艺术家通过破裂的镜子来隐喻一系列都市生活的社会关系之间的冲突与破裂，而在画面的主体部分中，以高傲而冷漠的年轻女性与血流满面倒地的裸体男子为中心，艺术家通过对比强烈的人物形象来营造错位的人物关系，并通过夸张的装饰与表情来强化作品的荒诞性与陌生感。
The Crack series lay the foundation of the train of Tian Taiquan’s artistic thought. In the series, a broken mirror indicated both the conflicts and fractures in social urban lives. The image was centered of an indifferent young lady and bloody nude man. The artist indicated the complicated relationship by sharp comparison of figures, as well as expressed weird and strange feeling by exaggeration and strength.
通过对画面语言的分析，应该说在话语模式上，田太权的作品仍然延续了其他一些关注都市文化与社会问题的艺术创作的一个大致思路，但是其作品的艺术价值在于，通过对摄影元素的嫁接，完成了对荒诞性与陌生感的最大化，从而取得了超越一些架上作品的表现力。荒诞感与陌生感都来源于对于现实生活的背离，而这种背离则是建立在对于我们熟悉的场景的改变与颠覆的基础之上，如果在现有的观念中没有对应的场景与画面，那么所产生的也许就只有对于新事物的新鲜感与好奇心而已。而田太权的作品，却是利用了摄影元素的纪实性，将不可能，或者有意为之的场景与物品通过最接近真实情况的视觉形象展现出来，并且在视觉效果上，尤其是通过高超的画面细节处理，勾起人们对于摄影真实的先天记忆，《裂》系列的作品，在画面上调和了艺术摄影与超现实绘画的视觉经验，进而将架上绘画为了维持绘画性而舍弃的视觉真实性发挥出来，进而在诧异与追问中加深了作品对于观众的冲击力。
The value of Tian’s works that maximum the weird and strange feeling by the use of photographic elementary grafting. It is also the reason why his achievements go beyond the expression of painting. The feeling was originated from the deviation of the real society that seems could only be established on changing and recreating toward the daily lives. Without the attention of the matching scenery in the past, it could happen to be a sense of fresh and curious emotion only. With the aim of recalling the past and bring the visual impact, Tian Taiquan’s works played the role of a documentary recorder collecting all the superb details. Cracks series coordinated the visual experience from both photographic skill and surrealism, put the reality into play then strengthen the visual impact in intensive asking.
田太权在2006年开始创作的以重庆红卫兵墓地为题材的一系列作品，赋予了其摄影作品中的“制造性”以更重要的使命。田氏的作品，以记忆的营造为主线，包括了《印痕》、《图腾记忆》、《神曲》等一系列作品。文革时代的特殊背景，使得以此为对象的艺术创作往往呈现出一种间歇性热潮。无论是出于政治、文化还是社会心态的种种原因，各个时期文革题材的创作往往都呈现出一种欲语还休，难以名状的情愫。既不愿忘却，却又难以揭开，生怕碰痛了伤口。
At the beginning of 2005, Tian Taiquan started with the subject of red army graveyard in Chongqing. Recollection acts the clue of Tian’s works, including Marks, Totem and Legend series. The special background of Cultural Revolution builds up so much highlighted waves in his artistic creation. Regarding to the matters of politics, culture and society, the works of Cultural Revolution were used to be described in a sense of nameless and hesitation. It is in a dilemma that people are reluctant to forget and to hurt of the wound.
田氏的文革系列作品，是以一个文革时期武斗牺牲者的墓地为场景的。作为一个出生在六十年代的艺术家，他应该是经历过那个混乱而动荡的年代的，但是作为一个在成长中的小儿，这一经历又注定是模糊、破碎甚至是带有一些神话色彩的。在一个尚未形成理性的年纪里，对一场非理性的运动的记忆应该大都如此，也许所记得的，除了一些深刻的个人记忆之外，也就只能是红色的海洋、绿色的军装，闪亮的像章以及在多年以后无意中被惊醒的，对于易逝生命的感伤。艺术家并没有以一个亲历者的身份，将自己的经历用再现的方式呈现出来，因为不同于那个伤痕美术盛行的年代，文革的往事已经从当下的集体记忆中逐渐消失，亲历者选择回避痛苦的片断，后来者则只能通过舞台与荧幕来编织记忆。因而，只有逝去的生命与亡者的世界，才是艺术家所需要的想象的舞台。
The background of Tian Taiquan's works is the graveyard of victims in Cultural Revolution. He was born in the sixty who must have an experience in the troublous times. Of course, it is no doubts that the impression of Tian felt into pieces, even liked a fairy tale since he was only a little boy during the period. The general impression in children's minds of the generation might only be a sea of red, green military suits, glittering badge, and deeply affection of death in sub-consciousness after many years. The artist represented what he experienced because it was quite different from the popular arts in the age when the Cultural Revolution past away gradually. People who have been experienced tried to avoid the painful moment while the younger generation could only weave the leaf of history by stage and media. Therefore, just the death and underworld inspired the imagination of artist.
从《印痕》系列开始，田太权便尝试将披着绿军装的鲜活女体与斑驳的石碑，荒废的墓园结合在一起，凄美又带着几分诡异。沉陷于石碑、泥土中的人体被用来象征那些在尘封的历史中被吞噬的生命，而那些脸色惨白、衣着鲜丽、表情木讷宛若失去灵魂的身体则以一种比佛家抛却皮囊的比喻更强烈而直接的方式预示着逝去的生命的无常。墓葬的封树，本是为了缅怀与纪念，但是在艺术家的镜头下，却成为了一出出鬼故事上演的舞台。
In Marks series, Tian Taiquan tried to combine with female figures in military uniform, party-colored monument and ruined graveyard in lonely and mysterious atmosphere. The death have been covered in the flowing years, nevertheless the uncertainty of changeable life was strongly expressed by these pale looking, fresh dressing, simple appearance and soulless body. In the eyes of artist, the graveyard plays the role of stage for ghost instead.
田太权的摄影是前卫的，这么说并不仅仅因为他使用先进的数码技术来制造这么一个充满不可能的诡异场景，并将这种不可能展现的如此真实。进一步就其展现的故事本身而言，无论是表现残酷、裸露那些身体（与精神）的伤痕，还是展示一种幽灵般的诱惑，这个场景本身就如同《裂》中梳妆的女性与倒地的男性那样，在形成强烈的视觉冲击的同时显示出一种旁观中透出的冷漠。田太权往往回避解释那些作品中暗示的具体意义，而将其归为一种简单的感触与感动。然而，当他那些有意味的形象置入那个曾经引发他感动的场景时，这件作品所表述的便不仅仅是简单的感触了。只不过，作为一个当代的职业艺术家，田太权将这种复杂的情感用一种可以引发联想，进而多重解释的形式语言巧妙的制造出来，以期在日益快捷的语境变换中取得更长久的解释空间。如果说伤痕美术的作品所显示的是真实的触动与亲历者的情感流露，那么田太权与其制造的“文革记忆”，则是反映了当下人们对于作为久远而模糊的历史而存在的文革想象。两者无所谓对错，只不过他们都面对着各自的“当下”。
It's no denying of the advantages of Tian Taiquan's photography, not because of his usage of highly digital technology, not because of the mysterious atmosphere, even not because of the expression of the truth. In Tian's works, no matter of its crudeness, nudeness, hurts or addiction, the violent visual impact indicated a kind of indifferences by the passengers; such as the dressing woman and the felt man in the Crack series. The way of expression is not only a sense of feeling definitely, when it combines with both meaningful figures and emotional scene. Being as a contemporary occupational artist, Tian Taiquan relaxed his complicated emotion imaginatively and variously in a free space. If the art works truly indicated the feeling of reality and emotion of experience, the recollection of Cultural Revolution by Tian Tianquan reflected the leaf of sub-consciousness in the history. It did not mean right or wrong, but been established in separate situation.
鲁迅先生曾经撰写过一篇被收录入中学课本的著名杂文，叫《为了忘却的记念》，在文中他为了不让我们忘却，才提起那些牺牲者在现实中逐渐消失的往事，而今天田太权作品中的场景，却恰恰是由于被变革中的社会所忘却才得以暂时的保全，得失之间，世事的悖论莫过于此。同样的，真实的世界为镜头所追逐，但是真实又不完全是人心的映射，人们所记忆的，也许恰恰是真实的元素在自己脑海里重新构造的场景，展现的是他们的思想甚至欲望。杨绛所谓的“回忆是最不可靠的”大抵如此，人的一生都在不断制造自己的记忆，而田氏摄影所展现的也正是这样。
When I was a student in Middle School, I learnt an essay For the unremembered memory by Mr. Lu Xun who remind us of the tiding away pasts. To the scene of Tian Taiquan's works, the existence just lies in the forgetfulness of our changing society. There is nothing the paradox is. In the same way, all the works were originated from the real society, but not the direct reflected of artist's mind, which were more likely his reconstruction of the moments in the history as well as the expression of his own thoughts and desires. It is said that the memory is the most trustless. We spend all our lives to produce our memory continuously, so does Tian's photography.