植物史-蔡獻友創作個展

藝術的禪修者-蔡獻友

The Art Meditator: Tsai Hsien-Yiu

文:葉竹盛

Article by Ye Chu-Sheng

 

在這樣多元的科技環境,可深入關注的議題何其多,藝術的表現形式及媒材也多樣性,創作者如何選擇其適當性表現自己是一門很大的學問,況且藝術還要不斷地求新求變,隨著生活及環境的改變,關心自己、環境,與自然達到共生共榮。繪畫會反映到創作者的內心世界,跟創作者個人的特質是相關且是無可避免的,包含人生觀、價值觀、個性...等。所以當創作者在認真創作時,他的形象就會透過其藝術表現手法呈現出來,那是一個非常真實的反映。在教學、行政和創作能有條理的規律計畫,一般說來並非常人所能做到,獻友是少數可以兼善的創作者之一。由於重視自然物質的表現性,也因為時間被瓜分,他把創作的時程化整為零,創作材料平常要處理,因此當他進入工作室而能馬上進入創作。在學生時代他就開始對材料下一番工夫,在創作時不會非常保守、守舊的用傳統的素材來創作,到現在我再看他的作品時,發現他使用的媒材也並不都是傳統的媒材,他的創作材料取之於自然,並非來自於美術材料行,經由淬鍊完成,猶如科學家的精神態度,追求創作媒材的反璞歸真。

A multivariate, technological environment presents us with a variety of issues to probe into, while multivariate art methods and media leave artists with the major question of how to choose the best expression. Moreover, as life and the surroundings change, art demands constant innovation through mindfulness and the co-existence between the self, the environment, and nature. Paintings reflect the inner state of the painter; it is inevitable for the work to relate to the mental state, including issues such as the outlook towards life, values, and personality, of its creator. Therefore, when an artist is fully immersed in his or her work, the form of the artist truthfully manifests through artistic methods. It is not easy to lead an organized lifestyle between teaching, administrative work, and creative work; but Hsien-Yiu is among the few who manages to achieve this. Due to his attention towards the expression of natural materials and his fragmented work schedule, Tsai Hsien-Yu tidies his materials and tools on a daily basis so that he can enter the state of concentration in his studio within the shortest time possible. Tsai started studying materials when he was a student and manages to apply materials that are far from traditional and conservative. Tsai’s materials are all collected from nature and not art stores, refined and perfected with the precision of a scientist to return to the authentic and natural stated through materials.

 

也許獻友將藝術創作當成修身養性的一門課程,由外而內、由內而外,反覆自我觀照;所以能時時內視自我、了解自然及生命的本質,處於自在的狀態。他關心的議題都有其論述、研究,作品也都達到一定質和量的完整呈現。在其各階段作品都有共同特性"素雅",媒材取得於自然,並深刻觀察自然的演化過程,萃取需要,猶如煉丹士。過程就是作品的一部分,也是獻友禪修的功課,以期作品與人合而為一。

Perhaps in the eyes of Hsien-Yiu, the creative process has turned into a practice that disciplines and refines the temperament, a process that continuously and repeatedly reflects on the inner and outer state of being, allowing him to guide the gaze inward, probe into the essence of nature and life, and reach a state of ease. The topics that catch his attention all come with discourse and research, and all of his works reach a certain quality and quantity. Throughout each stage, Tsai’s works are linked together with a common elegance; each created using natural materials and conducts a profound examination towards the evolution of nature. This process makes the artist similar to an alchemist; the process of creating art is a part of the work and Tsai’s meditation practice, with hopes that the work and creator can become one.

 

綜觀獻友的創作略可分為四大類:1.物質2.生命哲理及省思3.大自然奧秘4.植物史。1986年雄獅新人獎得獎作品「墨結晶」的原形是炭灰和膠水的混合,是文人用來書寫及繪畫表現的材料,可以產生很多形式的變化及感覺。但獻友似乎不在意其中,思考著若求之簡化,又會發生如何的純粹化?將其置於容器上經由陽光蒸發水分,膠與炭灰的結合,然後變成一個墨的結晶,產生自然的形狀及裂紋,表面粗糙的肌理、光澤似乎有致命的吸引力。無即是有,有即是無,產生無限的可能和想像。藝術的表現似乎可打破傳統的繪畫元素及構圖,既直接又純粹。

The works of Tsai Hsien-Yiu can roughly be sorted into four categories: material, philosophical, natural, and botanical. Black world, awarded with the 1986 Lion Art New Artist Award, was inspired by the mixture of charcoal and glue, materials used by intellectuals when writing and painting, capable of creating various effects and forms. However, Tsai seems to be unconcerned with the endless possibilities but instead focuses on ways to simplify the works. Tsai places the works in a container under the sun for the water to evaporate, leading to the glue to merge with the charcoal, creating the crystallization of ink. Natural shapes and cracks form on the crystal, leaving a rough surface with enchanting shimmer. Existence and non-existence are one, both leading to infinite possibilities and imaginations. Different artistic expressions are capable of shattering traditional painting elements and structures, direct and pure at the same time.

 

「生‧滅─還原」(1989-1993)、「世界的原始」(1993-1995)、「大鵬鳥」(1996-1998)等為生命哲理及省思。透過大自然現象的循環、規律告訴人類,萬事萬物生生不息,雖有"生‧滅"、"生‧死"但還是不斷地發生變化。也許如大鵬鳥的至高點,看得更廣、更遠、更透。所有生物在宇宙中何其渺小,如何活的有意義,很難用繪畫或語言涵蓋,唯有人的智慧參透、延申罷?畫家截取自然的生物、符號、造形,經由組構呈現自己的意象。筆觸營造背景間的流動,既神秘又有詩的情境。

Life & Death: Revert (1989-1993), The Dynamic of the Primitive World (1993-1995), and  A roc (1996-1998) are philosophical reflections on life. The law and pattern of natural phenomena display the endless cycle of life where birth eternally accompanies death, constantly changing, like the perspective of the giant bird, seeing far and wide. All living creatures are tiny beings in the face of the vastness of the universe. It is nearly impossible to express questions about how to live a fulfilled and meaningful life through paintings or words; contemplations such as these may only be investigated through human wisdom. The artist uses organisms, symbols, and designs from the natural world to construct his image. The brushstrokes create a fluid background filled with mobility that forms a mysterious and poetic aura.

 

大自然奧秘的探索有「形象磁場」(1999-2001)、「極地-冰.光秘境」(2005-2007)、「桑桑」(2009-2010)、「青葉落白」(2011)、「葉.落錯」(2012)及「植‧樹」(2013-2015)...等。奇妙的是不同場域皆有呈現其特殊的現象,令人驚嘆!有形的是用眼睛可看見,無形也許是用聽覺或觸覺等其它感官去感知的。無論如何它是存在的,很可惜人的能力是有限的。獻友想要不斷地去擴展未知的領域,發展無限的可能。題材本身沒有新舊與好壞,所謂的新舊是在於觀念,你如何去應用如何去轉換。我個人真的蠻喜歡的他的作品,但是藝術是一種馬拉松賽跑,期待他以後要如何的繼續延伸,這都是我們從事藝術創作者很重要的課題。在以上作品系列中應用許多的材質與色彩的自動性技法來掌握「光、色」的變化及神秘性;對植物觀察入微,用心感受而產生移情作用,體認到其生長的狀況,花開花落有其循環的道理,其它,何嘗不是呢?何等的感傷、讚嘆!也許負有正向的鼓勵,看得出獻友對生命的把握及看待。

Exhibitions that explore the mystery of the natural wo

綠洲之境-駱志豪、蘇誼亭、陳薇文三人展

人人心中都有一塊屬於自己私密的烏托邦,可以恣意的在其中遨遊,同時也保有自己最純真的夢境,宛如沙漠中的一片綠洲,寄託著一切美好的事物。駱志豪、蘇誼亭、陳薇文三位年輕的藝術家藉由不同繪畫形式來描寫自己心中那一塊心靈的綠洲之境,共享自己心中最深刻的時光,讓我們透過藝術家所演繹的那片豐饒綠洲,嘗試抽絲剝繭地檢視自己的狀態,共鳴觀者心中的綠洲之境。

We all have a secret Utopia hidden deep in our hearts, a land that allows us to roam freely, filled with dreams in their purest forms. This space is like an oasis in the desert, safeguarding all that is good. Three young artists, Zhi-Hao LO, Yi-Ting SU, and Wei-Wen CHEN, present their own spiritual oasis through varying painting methods, sharing the most profound moments and allowing us to inspect ourselves through the annotations of lush lands, resonating to the oasis in the hearts of viewers.

駱志豪透過大自然的元素反映生活週遭的現象,作品中放了一些象徵性的物件,以不同的架構陳述細微事物進行中或已完成的狀態,連結和人們最簡單的互動相互呼應,並帶來一股輕質而沒有負擔的氣息,讓觀者輕鬆的檢視,也許會漸漸發現這當中是你我平常再了解不過的一個狀態。

Zhi-Hao LO uses elements from the natural world to reflect phenomena that surround daily life. Symbolic objects are placed within the works in different compositions to articulate the nuanced state of ongoing or completed incidents, connecting and echoing the simplest human interactions. LO’s paintings emit a light and burdenless atmosphere that allows viewers to inspect the works in a relaxed manner; viewers may realize that what the works depict are familiar states in our own lives. 

蘇誼亭則是從日常生活物件中,找尋材質或物件承載記憶的可能。陳述試圖於南北往返,城市、鄉里間找尋熟悉的記憶風景。路途中,清楚與模糊的記憶不斷在腦中閃爍,自己迷惘於現實與記憶中,想要找尋一種方法,紀錄記憶移動的瞬間。將纖維材質視為一種載體,承載記憶圖像,再現生活中的清楚與模糊的眼光。以纖維圖像再製的方式,再現我的城市風景。

Yi-Ting SU searches for everyday materials or objects that have the possibility of harboring memories. SU’s works attempt to discover familiar landscapes within memories of traveling between urban and countryside settings. Throughout the travels, clear and blurred memories constantly flash by; the works are endeavors of the artist to search for a method to document fleeting moments amid perplexing realities and memories. The fiber material used in the works have become a carrier for memories, reproducing the lucid and blurry perspectives of life. The personal urban images are presented through the reproduction methods of fiber images. 

陳薇文運用窗、悠游的龍魚與水草,交織出時間川流空間穿透的意境。一扇扇窗戶將現實分隔為裡外不同的時空,穿越歷史的紅龍魚,罩著神秘古老的面紗,以華麗、優雅的姿態穿梭在隨潮流飄逸的水草構成之流動的時間裡,自在悠游於嚮往的境域。如同「凡走過必留下痕跡」,記憶隨著空間的轉換與時間的推移,越顯深刻,創造出屬於獨到的四維空間。

With windows, Arowana, and aquatic plants, Wei-Wen CHEN weaves a land of intertwined time and space. The windows separate reality into interior and exterior times and spaces while the Red Arowana pass through history with a mysterious and ancient veil, gracefully, elegantly, and freely moving between the fluidity of time created by the aquatic plants, waving with the tides. Since everything leaves a mark, with the changes in space and the proceeding of time, memories become profound, creating a unique four-dimensional space.

風景之外-黃品玲、葉仁焜、鄭農軒三人展

「雖然每個影像都具現了一種觀看方式,但是我們對影像的感知與欣賞,同樣也取決於我們自己的觀看方式。」──約翰伯格《觀看的方式》

“Although every image embodies a way of seeing, our perception or appreciation of an image depends also upon our own way of seeing.” – John Berge Ways of Seeing

 

觀看涉及個人因素、文化背景與意識型態,長時間的培養累積而成。經由觀看,自身的思維在熟悉環境裡,對於物象有了自我的感受、看法與分別。

The act of seeing involves personal factors, cultural backgrounds, and ideologies that are formed across extended periods of time. Through seeing, the individual develops his or her own feelings, ideas, and distinctions in a familiar environment.

 

以「風景之外」(Beyond Landscapes)為展出主題,風景─就字面上的解釋為風光、光景、景致、景物之意。在西方最早出現於荷蘭語(Landscape),意謂「一塊土地」,即是由土地、環境作為客體觀看的樣貌。外在的風景透過藝術家之眼去觀看,所創作出的內在景觀也會有所差異。此次特邀請三位年輕藝術家,以不同面向的創作來傳達他們對於「風景之外」的感受。

This exhibition is curated around the theme “Beyond Landscapes.” The word “landscape,” interpreted as scenery, view, or sight, first emerged in the Western language in Dutch, literally meaning “a piece of land,” and therefore refers to the objective image of the land and environment. The outer landscape is portrayed as varying inner landscapes through the artists’ perception. This exhibition displays the works of three young artists who express their feelings that exist “beyond landscapes.”

 

黃品玲的創作以風景為主,這些風景並不是真實的存在,而是內在的想像。景色不全然是視覺本身,而是當下面對風景的感受、氣氛、濕度、溫度。把風景作為可以承載想像的場景,並在其中設法標的自己/安置自己。創作的衝動多來自於無法使用文字或語言傳達的抽象感知及意像。

The works of Huang Pin-Ling are mostly landscapes that do not exist in real life but are instead depictions of inner imaginations. The landscape is more than the visual itself, but also the sensation, atmosphere, humidity, and temperature that emerges in the senses when facing the scene. The artists imagine landscapes as sceneries that are able to hold imaginations and attempt to locate and place the self within the view. The drive for creation mostly originates from the urge to express abstract sensations and imagery that cannot be conveyed through words or language.

 

葉仁焜融合了傳統水墨與膠彩畫的技法特質,將屬於當代的藝術思維帶入作品中。近年的創作多描繪城市的空景,畫面中強烈銳利的線條、深邃的藍色以及無所不在的水泥建築,是其極具辨識度的元素。所關注的城市記憶,不同於既定的城市印象,斑駁、空寂、寧靜、幽淡是最真實切身的生命記憶。

Yeh Jen-Kun merges the technical characteristics of traditional ink painting with acrylic paintings and gives his works contemporary artistic philosophy. Yeh’s works throughout recent years mostly depict blankscapes of cities with scenes that stress sharp lines, dark blues, and ever-present concrete buildings, all elements with high recognizability. Rather than fixed urban memories, Yeh Jen-Kun is more interested in the blotchiness, emptiness, lonesomeness, and faintness of personal life memories.

 

鄭農軒的創作是一種觀看,在特定時間點上,外在風景與藝術家有了造型、質地、色彩上的連結。連結是很隨機的,可以是自然景物,也可能是生活物件。不同的題材最後透過內心轉化成一個均質而寧靜的氛圍,刻意抹除物件與意義間的界限,似是漂浮在一個曖昧不明的空間,但最終所有的物質都導向精神性的統一。

The works of Cheng Nung-Hsuan are ways of seeing. On specific points of time, connections link the scenery and artist through form, texture, and color. These connections are random and can be natural sceneries or objects from everyday life. The different themes ultimately transform into a harmonious and tranquil atmosphere through the mind while the boundary between the object and its meaning are deliberately blurred, making the works seem as if floating in an ambiguous space. In the end, all substances will lead to a spiritual unity.

內觀心應─莊連東創作展

內觀心應莊連東創作展

Internal Visions and Responses of the Mind: Chuang Lien Tung Solo Exhibition

 

透過外在特徵,觀察物象具體樣貌的存在;透析內在狀態,深入物象延伸指涉的意涵。一則用眼觀,一則以心觀。眼觀,得物象客觀的形態,瞭解其規律,體會其情趣;心觀,從形象主觀的詮釋,思維無限流轉,想像無盡綿延。

When examining the existence and appearance of concrete objects through their external characteristics and extending deep into meaning through clarifying internal states, we apply the vision of the physical eye for the former, and vision of the mind in the latter. The vision of the physical eye observes objective form, understanding regularities and experiencing appeals, while the vision of the mind develops subjective interpretation with thoughts continuously circulating and imaginations endlessly extending.

 

莊連東2017年的展出,對外在物象的「觀」照有新的體悟,他綜合了眼觀與心觀的視覺與意象思辨,進行往人的內心狀態結合的內觀運作,透過外在物象的寓意及其與其他物象對應的種種可能,推衍出符應當下社會環境情狀的繪畫語言,並且表述了他個人主觀意識的圖像解讀。

Chuang Lien Tung’s 2017 exhibition displays new understandings towards the vision of objects within the external world. By combining the visual and imagery speculation on the vision of the eye with that of the mind, Chuang conducts the internal vision towards the inner state of mind. With implications of external objects and the multiple possibilities in the relationship between that object and other objects, the artist infers a painting vocabulary that conforms with the current social environment and expresses personal subjective consciousness and image interpretation.

 

所以,在他的作品中,所有圖像都是他作為傳遞訊息的媒介物,除了圖像本質的隱喻語彙之外,同時更是作為一種意義表述的代言人,這個意義可能是指向人類本性特質的反映,也可能是探向社會現象的討論。當然問題核心的探究,就是創作者莊連東深刻的生命體察心情,因此,圖像成為他移情抒懷的投射,既是比擬自己的個人心境,也是反映多數人的共同看法。於是,「烏龜」的對應成為任何物象的變異,或是轉化為何種型態的構成,都獲得隨意想像的自由;「魚」的自我覺察,膨脹或看小了自己,清晰辨識或模糊看待了自我,盡是人紅塵百態呈顯的原初;而「蜥蜴」與「佛像」的彼此影響,「花」或「蝶」的自我轉化,訴說的正是觀點視角的差異。

Therefore, the images depicted in Chuang’s works are all agents for transmitting messages. Apart from the metaphorical vocabulary of the image themselves, the works are also spokespersons for specific meanings. This meaning might refer to a reflection of the essence of humanity, but also a discussion that probes into social phenomena. Naturally, investigations targeted at the core of the problems are profound observations of life of artist Chuang Lien Tung. Hence, the images have become a reflection of the artist’s transference and expressions that not only match personal states of the mind but also reflect collective opinions. The correspondence of the “Turtle” can be the variation of any object or transformed into any composition, filled with freedom of imagination. The self-observation through “Fish” either inflates or belittles the self, reflecting with either clarity or obscurity, presenting authentic representations of the different appearances of life in this world. The mutual influence between the “Lizard” and “Statue of the Buddha,” the self-transformation of the “Flower” and the “Butterfly,” all express the differences between varying perspectives.

 

「內觀」是對外物的觀察投射出內在的感受,「心應」是從心境的感應訴諸於環境的表意。宇宙間的循環之理,人世間的運作之狀,在畫家的眼中,已然寄寓在許許多多微小的生命裡!

“Internal visions” are inner sensations reflected by observations on the eternal world, while “responses of the mind” are expressions displayed from the induction of the mind. In the eyes of the painter, the rule of circulation in the universe and the state of operation in the world are hidden in the lives of tiny creatures. 

Sin Titulo-謝其昌創作展

「Sin Titulo」-謝其昌創作展,是筆者以多年身處在國外之生活美感經驗及回台期間自己對週遭生活經驗,作為其創作之泉源。將簡單書寫與塗鴉行為,藉由藝術創作的過程轉化為抽象造形藝術的能量,試圖以符號象徵、書寫抽象與生活逸趣,建構現實空間以及對現實書寫一種記憶。

 

一般西方哲學偏重概念思辨和語言分析,把哲學純粹作為一種思辨或論述,而中國哲學則偏向個人體驗與身心修養,把哲學當作一種生活方式。所以在中國藝術講形而上的美,西方藝術則在造形中追求變化。因為如此,筆者的創作自然結合東西方藝術的理念與表現,如同劉豐榮教授文中所談到:「…謝老師的造形與色調之獨特性實反映其個人在水墨畫、西方美學與抽象繪畫之素養,以及其在西班牙接受藝術教育之影響。謝老師應用西方美學中直覺、象徵、符號與形式、想像與精神分析、以及康德之遊戲觀點,也重視作品中虛與實、黑與白、或圖與底、筆觸動態與圓弧動線之適切運用。其抽象形式中往往出現幾何形之船、象徵「家」之建築,或飄浮著如幻似真之半具象與非具象形體,有如存在於水墨畫之虛無飄渺意境中。…」

 

    【旅行建構系列】、【書寫自然系列】及【抽象-睡日記系列】是此次展出的系列作品,完成於2013-2016之間,有些作品是斷斷續續創作;有些作品則畫了數月;甚者有長達一年之久才完成的。歷經建設、破壞與重建等過程,手稿的記憶經過回想與自由的覆蓋,最後創作者的潛意識往往成了作品創造表現的泉源。以直覺的意識釋出遊戲表現的繪畫形式,於作品上可見到暗示時間與空間的線條與符號交錯而成一幅幅的「類地圖」。

 

    透過日記與無意識塗鴉手稿讓創作者回憶當下的情境,在沒有事前計畫與安排情況下,一切隨著創作過程隨機成形,從下筆畫出一小部分,逐漸延伸成為較具體的圖形,在一個空間中隨意的生長。以書寫性的塗鴉與自動偶發性的圖形,在創作過程去感受當中微妙的變化,望作品呈現出繪畫過程,如同一幅幅的進行曲。

 

    以船、家、樓梯等類似文字的剪影圖案、形狀,營造具符號性的畫面氛圍,是記憶情感的符號,也是情感痕跡的記錄。黑色剪影的造形、書寫式的塗鴉、機械式的線條與對比的色彩,隨意散置在畫面中,如一張行進中的地圖,經過油性液體的潑灑讓作品呈現出曖昧的空間對話,這種神秘氛圍,透過線條的密度、大小和色彩,以一種靜止緩慢的方式移動,不間斷地蔓延與滿佈交織著圖像與線條,讓創作者的意念自然流露。侵蝕般的情感重量─深刻地生長綿延,被賦予符號使命展現在畫面中。