文 / 胡斌
影子剧，本来有它的特定所指，对应的是那种将平面镂空的人形置于光源与半透明幕布间，用以叙说故事的“灯影戏”。而在某种程度上，艺术家许永城画面中的光影和那一幕幕被定格的人像与此有着精神意味上的契合。他画中的人物，形体姿态达到极简，笼罩在强烈的光照下，有如被雕刻的塑像一般。这热烈的日照让人联想起湿热气候的南方，然而那长长的影子又分明提示纬度较高的北方。光影是许永城一直追寻的主题，他经常通过各种半封闭空间“框定”人物活动的范围，将所描绘对象的绝大部分隐没在浓重的阴影或者遮挡物之中。叙事由此变得不完整，叙事也由此变得意味深长。“鲜花”、“拥抱”、“后窗”……他的这些“有题”或“无题”的剧目背后到底是什么？我们就是这样被无数的疑惑与情绪牵引着，走进那隐秘的剧场。Text / Hu Bin
A Play of Shadows, in its original specific reference, correspondstothe"lantern shadow play" that uses flat, hollowed-out human figuresplacedbetween a light source and a translucent screen to narratestories. Tosome extent, the interplay of light and shadow in artist Xu Yongcheng'spaintings, along with the frozen moments of human figures, sharesaspiritual resonance with this art form. The figures in his paintingsarerendered with minimalist forms and postures, bathed in intenselight, asifcarved sculptures. The fervent sunlight evokes the humid southernclimes,while the elongated shadows distinctly hint at the higher latitudesofthenorth. Light and shadow have always been Xu Yongcheng'senduringtheme. He often "frames" the scope of human activity withinvarioussemi-enclosed spaces, obscuring most of the depicted subjectsinheavyshadows or obstructions. Thus, the narrative becomes incomplete, andinits incompleteness, it gains profundity. Behind his "titled" or "untitled" works—such as "Flowers," "Hug,"and"Behind The Window"—what truly lies? It is precisely thesecountlessquestions and emotions that draw us into thatintimate theater.