名稱:植物史-蔡獻友創作個展
展期:2017-10-12 ~ 2017-11-30
地點: 102當代藝術空間

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 world include The Magnetic Fields Image (1999-2001), Polar Region: The Mysterious Territory of Ice and Light (2005-2007), Sound of Natural (2009-2010), Falling on White (2011), Falling Leaves (2012), and Forms of Tree (2013-2015). The most extraordinary aspect of these exhibitions is its ability to present its uniqueness throughout different occasions. The physical qualities are observed through the eyes, while the metaphysical is seen through other senses, such as hearing and touch. Despite its mode of existence, human senses have limitations. Tsai Hsien-Yiu continues to expand into the unknown, developing endless possibilities. Whether the themes are old, new, good, or bad, is not worthy of consideration, since old and new are merely differences in concepts. The focal point is how the themes are applied and transformed. Personally, I am incredibly fond of Tsai’s works, but the career of an artist is a marathon, and I look forward to how Tsai expands his works. All of the issues above are important for an artist. The mentioned series of works used a variety of materials and automatic color techniques to grasp the changes and mysterious qualities of light and color; the artist’s nuanced examinations on plants lead to a sense of empathy towards the condition of the plant. The blooming and withering of flowers exist in a cycle, a state that also applies to other entities of this Earth. In the face of the forces of nature, one can only lament and praise. This positivity allows us a glimpse into Tsai’s attitude and perspective towards life.                                                     「植物史」為獻友展覽的主題,以植物作為關心表現的對象。一系列的作品是很好的植物史的觀賞、研究的圖鑑檔,有高度的藝術性及技巧性。複雜的畫面疏密之間的關係都能處理的很到位,統一的色調不強化寫實光線、空間,壓縮了視覺的激情,表現出介於理性與些微感性之間很微妙的變化。材料顏色的使用就如同道家的煉丹術,完全由自己提煉出來,具樸拙、厚實、溫度的感覺。他會發現新的素材,比如說黑色的顏色部分其實不是油畫顏料的黑色,而是採用刮下來的碳灰、煤煙與膠研磨再畫上去。這是創作者在材料使用上有他自己的獨特性,具獨特性的材料它自身呈現色彩的效果也會與一般的不一樣,所以他在材料上有不斷延伸與發展。在之前比較傳統的所有藝術表現都要透過手繪的方式,必須要畫得很完整也要面面俱到這才是作品,可是獻友會提出不一樣的看法與觀念,從以前就是這樣。他有一個關心的主題,一個對象物,但是他進行的方式並不是一開始就是很客觀在那邊觀摩,而是很放開的類似自動性技法,先讓這些顏料在畫面上游走所產生的一些自然的變化,之後他再作整理。這樣我是覺得滿好的,因為透過這個過程你會受到些刺激,原先的想法會在過程中被引導。 As the name suggests, the exhibition The Reincarnation of Plants focuses on the concern towards plants. The collection of works showcased in this exhibition is great for plant catalogs used in observation and research purposes and contain sophisticated artistic qualities and techniques. The complex pictures handle the sophisticated composition of the images, with a coherent color scheme that doesn't emphasize realistic lighting and space, compressing the dramatic effects of the vision. This method expresses the subtle changes between sense and sensibility. The artist adopts an attitude not different from an alchemist when using colors; the color pigments are extracted by the artist himself and display a humble, deep, warm quality. The artist continues to discover new materials; for instance, the color black seen in the paintings are not created by oil pigments but scraped charcoal, soot, and glue, ground together and applied to the canvas. The artist is unique in the usage of pigments, and the special colors bring out different effects, allowing the artist to continue to expand and develop his methods. Before this, traditional artistic expressions require hand-painted methods, and works are reviewed according to the completeness of the image. However, as always, artist Tsai Hsien-Yu proposes a different concept and approach. Tsai often focuses on a certain theme but does not proceed with objective observation. Instead, Tsai adopts an openness that is almost automatic where the pigments roam freely on the canvas, allowing the colors to create natural changes, and only making revisions in the final stage. I believe this to be a good method because this process encourages creativity and presents alternative possibilities from the original process.   相信大家會覺得他的植物系列為什麼都是很扁平的,幾乎沒有所謂的立體感,這也可能與他所要表現與關心的題材很有關係,因為我透過觀看的時候,他好像在表現一種化石裡面的植物,化石裡面的植物當然不可能像我們看到現有的大自然環境裡活生生的、顏色非常的鮮艷、光線明暗非常的強的面貌。它是被岩石岩漿把它包起來、所以它是被壓平的、有點像版畫的感覺。有一些朋友與我分享為什麼獻友的作品看起來會讓我們沈澱,非常的安靜祥和,因為他將那些比較跳動的元素去除,這種比較低調的處理方式,很容易讓大家進入一種安靜冥想的狀態。在觀看作品時似乎出自同一棵樹,如同獻友所強化樹的「原型」,由它不斷地自然演化,成為多樣性的樹,且長滿了許多葉子。為何有如此多樹?在其觀念中「一片葉就是一棵樹,而一棵樹就是一片葉」,在自然法則成為今日植物觀。從植物樹葉的表徵中看到它的凋落、生滅,那不是結束而是新生的開始,默默的感受自然能量。由葉-樹-身體-感知-表現之歷程,如禪修者的功課,「反觀自省」化為作品,藝術與心靈的平衡,其不失為最好的表現 。 Perhaps viewers will wonder why the botanical series are presented as flat images, without any sense of three-dimensional quality. I suppose this has to do with what Tsai wishes to express and the theme that he is interested in. When observing his work, I feel as if Tsai is depicting a plant within a fossil, which is naturally different from the living plants we see in the natural world, with vibrant color and intense lighting. The plants are instead, enwrapped with magma, hence its flat, print-like appearance. Some friends of mine share their thoughts on why Tsai’s works emit a sense of peacefulness that guides the viewer into contemplation. They believe that the artist removes the dynamic elements from the image, approaching the images with a sense of humbleness that encourages viewers to enter a state of tranquility. When observing the works, it is as if we are from the same tree, the “form” of the tree that Tsai emphasizes. This form evolves into different trees filled with leaves. What is the reason behind so many trees? For Tsai Hsien-Yiu, “a single leaf equals a tree, while a whole tree is seen in one leaf,” forming his view on plants throughout natural laws. Viewers notice the withering, birth and death, the unending cycle of life through the appearance of leaves; each ending is a new beginning, silently filled with energy. This process of leaves – trees – body – senses – expression is similar to the practice of a meditator, creating the artwork of reflection and introspection, presenting the best through the balance between art and mind.