我们可以说我们的直觉总是和对我们所见物体的无尽的回归，对所熟悉物体的没完没了的对照。比如，当我们看到一张新的面孔，我们会自动地和我们之前看过的面孔做比较。这是我们理解新接触到的物体的原理。一个和这有关的推论是有关我们对于物体的感知，包括抽象造型和空间的关系，其实是很平常的。如果我们，比如说，看到一个竖立的分枝状形状，我们会倾向于把它看成树木。这是因为大多数树木都具有这种特护形状。
It can be claimed that our perception involves an infinite regression to the things already seen, an endless reference to things already familiar to us. When, for example, we see a new face, we automatically compare it to faces seen before. This is how we make sense of newly perceived objects. A corollary of this is that our perception of objects, including abstract forms and spatial relationships, is very conventional. If we, for instance, see a vertically placed branching form, we are likely to perceive it as a tree. This is because most trees we have seen are this particular shape.
Enzo Rovella’s 的画对于以上述这种极端传统思维看待熟知物体的方式构成了直接的挑战。当我们注视着他的黑色，可能有人会说，碳化的“风景”，我们不知如何准确地理解它们。这是大火后的森林？是由于火灾或是火山灰造成的景象抑或是一种抽象的暴雪遮挡了树木的风景？我们不确定，我们不断地猜测，我们疑惑。如果这些枝丫形状现在变得更加透明和光亮，他们的形象变幻成火焰和在寒冷，蓝调和空气般的空间中的闪烁的光。风景由一个自然的，毋庸说孤独的风光，幻化成玄妙的，外星球的一种：在某个遥远星球的原始生物，从通透的空间释放出来的使得大地丰饶并且使得生命初生萌芽。
Enzo Rovella’s paintings pose a direct challenge to this deeply conventional way of seeing familiar objects. When we behold his black, one would say, carbonized abstract “landscapes”, we do not know what to make of them. Is it a forest after some conflagration? A conflagration by fire or by volcanic ashes? Or, is it some abstract snow storm which obscures the view of the trees? We are not sure, we keep guessing, we are puzzled. If these branching shapes now become more transparent and luminous, their perception changes into flashes of light in some cold, bluish, aetherial space. The landscape is transformed from a natural, albeit a desolate one, into a fantastic, extraterrestrial one: a dawn of creation on some remote planet where these effusions from the luminous space fecundate the ground catalyzing in it the first germination of life.
在Rovella的“风景”中内在的两难是，如那些会被看成“山丘上的树林”或者“湖边的丛林”，归根到底是是由于我们的心理“症结”，即如何解释构图的“下方”。此“下方”具有根深蒂固的含义，既代表了基础也是支柱，以及覆盖隐藏的所在，并由此导向我们的潜意识。无论这“山丘”是否代表广阔和漆黑的虚无，“湖面”是否象征沉淀进深渊，或者“树林”是否有意料以外的矛盾却平行的感觉，这些都在深刻挑战着我们所习惯的感知方式。
The paradoxes inherent in Rovella’s “Landscapes” like those which may be perceived as a “forest on the hill” or a “forest by the lake”, stem mainly from our psychological “problems” interpreting the lower part, the “below” of the composition. This “below” has a deeply ingrained significance of a something that is both the base and the support and, at the same time, of a something that is covered and hidden, thus ultimately leading to the unconscious. Whether the “hill” is a tall and deep black void, or whether the “lake’s” surface precipitates into an abyss or mirrors the “trees” in an unexpected, paradoxical, horizontal sense, our customary, conventional way of perceiving is profoundly challenged.
相对传统意义上的风景而言，此类心理上风景（“精神风景”）的优点是具有多重含义：我们可以在相似或同一形象上构建不同意义。另一优点则是“精神风景”简化和矛盾的形式，即使是最复杂神奇的释义都能得以呈现。例如，在Rovella 的作品“天文学”中，一个简单的方形中，包含下半部的黑色区域和因为黑色之上的光圈形成拱形对应的上半部白色区域，营造出深邃黑暗上方的光晕效果，这种映像产生的焦虑来自其令人讶异的简洁感。
An advantage of psychological landscapes (“mentalscapes”) like these, over conventional landscapes, is in the polyvalence of meaning: we can project different meanings in similar or identical shapes. Another advantage of the simplified, ambivalent forms of the “mentalscapes” is that into them even the most fantastic interpretations can be projected. An example: a simple square from Rovella’s “Astronomie”, containing a black field in the lower half surmounted by a white field in the upper half, just because of the lighter halo above the black, creates an effect of an irradiation of light above a compact blackness, an image that generates anxiety by its frightening simplicity.
同样的多重意义也在Enzo Rovell画作的通过更多有机形式得到应用。和他焚烧碳化的“森林”不同，他们呈现出特有的透明、柔软和亲切，也使得他们更加接近有机物。事实上，当初次看到Rovella想象中的神奇生物时，我联想到了Ernst Haeckel画作“自然的艺术形式”中的海洋生物。乌黑的背景下，这些白色半透明的生物映射出别样的冲击和动人的巧合感。如同生命本身，这些生物都被指引于同一方向。又如同其他任何生物，它们增长也衰弱，分离，分叉，繁殖，萌芽，甚至交配！它们漂浮，抵抗着重力，并因此拥有生命自由运动的特征。尽管如此它们不能被定义，这使我们联想到藻类、地衣、软体动物及其他生物。它们和我们所知道的生物不同，栖息于一片深黑的透明之中，那里显然非寻常之所。所以，Rovella使它们置身于未被新星点亮的夜空当中，那里纯粹的黑暗和沉寂的静默使它们能作为宇宙声明安静地存在。
The same polyvalence of meaning applies to the more organic forms in Enzo Rovella’s paintings. Unlike his carbonized, incinerated “forests”, they posses certain transparence, suppleness and tenderness which makes them decidedly like organisms. Indeed, my first association when exposed to these strange creatures emanating from Rovella’s imagination, was to the sea animals illustrated in Ernst Haeckel’s Kunstformen der Natur. The projection of the white and translucent bodies of these organisms over the jet-black background was a particularly striking and appealing coincidence. Like the life itself, these creatures are orientated in one direction. Like other living beings, they grow and diminish, divide, bifurcate, propagate, germinate, burgeon, even, copulate! They float, resisting the force of gravity thus having a freedom of movement characteristic of living beings. Yet, they are undefined qua form, reminding us equally of algae, lichens, mollusks etc. Unlike the living organisms known to us, they inhabit an abstract, black transparency which, to our best knowledge, cannot sustain ordinary life. So, not surprisingly, Rovella projects these aetherial creatures into some remote parts of the nocturnal skies, not illuminated yet by the nascent stars. There, in an absolute darkness and silence, unperturbed, they can quietly lead their existence of cosmic luminous beings.
事实上，此种生命形式只能栖息于我们的想象当中，使我们想到古老的哲学问题，人类是如莱布尼茨所言生来便带有思想观念，还是相反的，如洛克所言生来如白板般纯净。如果此类生命形式真正存在，Rovella似乎成功将它们从我们惯有的感知和现实本身之中分离开来，回到它们真实的生命形式，只在我们思想之中存在。
The existence of these forms which, in truth, can only inhabit our imagination, brings us back to the old philosophical question of whether we are born with some readymade notions, ideas and forms as Leibnitz claimed contra Locke who believed we are all tabula rasa at birth. If such forms really existed, Rovella seems to have managed to divorce them both from our customary way of perceiving and from the outside reality itself, returning to them their real identity of forms which can exist only within us.
一些Rovella最抽象的画作探究感觉的架构和表面的基本现象，近年来引起认知心理学的广泛兴趣。此类画作最使人着迷的就是深色背景上的单一漂浮体。我们面对的是黑色透明的神秘现象，就好比面对黑色大理石的光洁表面。这也是一些古意大利画家例如丁多列托和帕尔米加尼诺特别擅长描绘的。
Some of Rovella’s most abstract paintings delve into the basic phenomena of the perception of textures and surfaces which, in recent years, has engendered a great deal of interest in Cognitive Psychology. What particularly fascinates in these canvases is the black background in which the light monads float. We are dealing here with a mysterious phenomenon of a black transparency which, for example, one would encounter behind the polished surface of a black marble. It is also a phenomenon which some Italian painters of old, like Tintoretto and Parmigianino, were particularly adept at painting.
最后，我想要对Rovella高度新颖和独创的技术做一些评价，但是从实际的角度出发，而不是从技术本身的角度。表面看来，尤其是从复制品来看，人们容易获得一个错误的印象，他的画作在一些光滑、人造的表面也可以同样实现。事实远非如此，传统油画使用的帆布，在其作品中起到重要作用。它们在压力作用下交互，以此对画作产生积极影响。画作与帆布的创造性互动，后者是积极角色，通过细谷粒、纤维和神经构成了Rovella 画作的生命组织。这远远超越了帆布作为画布的通常支持作用，其在传统油画中仅仅被动接受油彩。我将这两种完全不同的情况，比拟来自神话中两种创造形式完全相反的典故。传统绘画中，油彩为主动元素帆布为被动元素的情况同希腊神话的创造形式类似：乌拉诺斯（天空、光、颜色）在盖亚（大地，非透明背景）上构建。相反，帆布作为主动元素而油彩被动的情况，恰如埃及神话中创造形式，盖布（大地）相对对于努特（天空、光等其他）积极创意地构造。
I would lastly like to comment on Rovella’s highly novel and original technique, but to do so from the point of view of substance and not from the technical point of view. Superficially looking at the reproductions in particular, one may get an erroneous impression that paintings like his can be equally realizable on some smooth, synthetic surfaces. Nothing is further from the truth. As a matter of fact, the canvas – this matrix of the traditional painting in oil, plays a crucial role in the genesis of Rovella’s works. It is made to interact, under pressure, with the layers of the paint in such a way as to actively leave its impact on the paint. From the creative interaction between the paint and the canvas in which the latter plays an active role, come into being all those fine grains, fibers and nerves that constitute the living tissue of Rovella’s paintings. This far surpasses the usual supporting role of the canvas as a substratum which, in the conventional oil painting, passively receives the paint. I will illustrate these two diametrically different situations with regards to the respective roles of the active and passive principles by two diametrically opposite accounts of creation borrowed from mythology. The traditional situation where the paint is an active principle and the canvas a passive one can be likened to the Greek account of creation: an active principle of Uranos (the Sky, light, color) projects into Gaia (the Earth, a nontransparent substratum). The reversal of the situation in which the canvas is an active principle and the paint a passive one, can be, on the other hand, likened to the Egyptian account of creation, in which it is the active Geb (the Earth) that, in a generative, creative act, projects towards the passive Nut (the Sky, light etc.)
需要强调的是，帆布并非容易留下印记：其仅仅能在压力下作画。特别当Rovella的画作尺寸相对较大，这也是巨大的体力工作。在这方面，Rovella紧随先驱米开朗基罗的步伐，他包含巨大体力付出的艺术创作如同普罗米修斯的任务——与一些同时代画家的抽象概念相距甚远。
It should be stressed too that the canvas does not yield its imprint readily: it only does it under pressure. This means that a physical effort needs to be invested, particularly in view of the fact that many of Rovella’s paintings are on a relatively large scale. In this respect, Rovella follows in the steps of Michelangelo for whom the artistic creation was a Promethean task also involving a physical effort –a far cry from abstract conceptualism of some contemporary artists.
ENZO ROVELLA
Enzo lives and works in Catania, where he was born in February 1966. He began exhibiting in 1992 in a collective show held at the Cefal&iaute; gallery in Catania. The following year, he had his first one-man show, curated by Francesco Gallo, at the Altaureola Galleria in Acireale.
In 2005, he exhibited at the Beijing Biennial, curated by Vincenzo Sanfo of the Centro Italiano for arts and culture.
Among his main shows, noteworthy are the participation at the XIV QUADRIENNALE ANTPRIMA NAPOLI at the Palazzo Reale in 2003, a personal show held by Sergio Tossi curated by Demetrio Paparoni, a collective show at the Attico of Fabio Sargentini, again curated by Demetrio Paparoni, as well as various participations at international exhibitions.
Recently, he has held a personal show at the Benedictine Monastery in Catania, curated by Beatrice Buscaroli and a one-man show at the Bianca Maria Rizzi gallery in Milan, presented by Alberto Zanchetta
His work is present in various public and private collections. His works have been acquired by private foundations
恩佐罗威拉
1966年2月出生于卡塔尼亚
1992年 首个联展在卡塔尼亚Cefal&iaute画廊举行。次年，个人首展由弗朗西斯科·加洛策展，在阿奇雷亚莱的Altaureola画廊举行。
2005年，参加由意大利艺术和文化中心的策展人文森佐·桑福（Vincenzo Sanfo）北京的双年展。
他的主要个展中，值得一提的是，2003年的第十四届QUADRIENNALE ANTPRIMA在那不勒斯Palazzo Reale宫殿，由塞尔吉奥Tossi主办，德梅特里奥帕帕罗尼策划，联展在法比奥Sargentini画廊，德梅特里奥帕帕罗尼策展，以及参与的其他国际展览。
最近，于卡塔尼亚的Benedictine圣本笃会的修道院举行了个展，由Beatrice Buscaroli策展及米兰的比安卡玛丽亚·里齐画廊个展，由阿尔贝托·赞凯塔出品
他的艺术作品被公共和私人广泛收藏。艺术作品已被私人基金会收藏。
评论文章：阮诗寇博士
整理编辑：Luna 从事跨国企业管理与文化艺术交流活动数年，因其在意大利及美国公司任职的经历，与国外及国内画廊保持着很好的合作关系，接触北京及国外的多位知名艺术家，形成个人独特审美视角并积累了丰富的艺术策划及推广经验。
希望爱好艺术的朋友们，多多指教，并分享给更多的朋友，最重要的是记得评论与点赞哦，谢谢！
