從容住 – 池農深的紙上作品

Carefree Living-Drawing & Prints by Wei Jane CHIR

2015.04.25 ~ 2015.05.31

地點Venue:采泥藝術 Chini Gallery

開幕茶會Opening:2015.4.25  14:30

 

關於「從容住-池農深的紙上作品」

Carefree Living – Drawings & Prints by Wei Jane CHIR

「從容住—池農深的紙上作品」為旅美台灣藝術家池農深闊別台灣多年後,於采泥藝術舉辦的個人展覽。本展展名源自宋代詞人周邦彥著名詞曲「玉樓春」的詞句「桃溪不作從容住」,儘管歲月無情地向前流逝,人生實由時間刻畫出風格不同的生命層理。池農深的作品向來為人所知的是紐約地鐵系列、大型蛋彩畫,以及觀念性極強的幾何建築圖型。本次展出特別鎖定紙上作品,呈現池農深不同以往的創作風格。對於藝術家而言,紙具有可親性,也是東方藝術不可缺席的媒材,儘管離國多年,對於紙與墨的選擇,似乎也是自然而然。

本展展出的三個系列作品,將以各自的藝術表現形式體現藝術家不同時期的生命經驗與精神旨趣:「凝神虛白」系列是早期以攝影、腐蝕與直刻方式製作的銅版畫。不斷變化的顏色、形塊是變奏的探討,表現藝術家的探索意圖—從媒材探索東西方藝術美學揉和的可能性;「佛蒙特的冬之旅」系列,為池農深從柏林移居紐約後的創作。作品多以直線秩序建構抽象式的視覺語彙,是藝術家以理性的方式濃縮對於德國的內在情感;「孟都西娜」系列則是最新創作。宛若照片顯影的水墨創作構成藝術家的心靈山水,回應個人處於自然所感的渺小與謙遜。無論銅版畫、水墨畫或鉛筆素描,池農深以自身的省思呈現內在不可分割的東方情愫,無論是關乎文化或本質,無論是面對創作或人生,沒有人可以偽造。誠實,乃是心所嚮之所;心有其所,則為從容之本。

Carefree Living – Drawings & Prints by Wei Jane CHIR is an individual exhibition by the Taiwanese artist Wei Jane Chir. After living outside Taiwan for many years, she is giving an exhibition at the Chini Gallery. The three series of work exhibited embody the artist’s life experience and shifts in spiritual aims in different artistic forms. In the Imagining Emptiness Series, Wei planned to produce a copperplate engraving through photography, corrosion and etching. Expressing the artist’s forceful intention to explore – exploring the possibility of kneading Western and Eastern aesthetics together through choice of medium. The Vermont Winter Journey Series feature ordered straight lines being used to construct an abstract aesthetic vocabulary, expressing the artist’s internal feelings towards Germany in condensed form in a rational way. The Mendocino Series is the artist’s latest creation, in which ink which has been exposed like a photograph is used to construct the artist’s internal landscape, a response to the minuteness and humility the individual feels in nature. In copperplate engraving, ink painting and pencil sketches alike, Wei displays an inseparable Eastern sentiment through her own reflections on creation and life which cannot be faked. Honesty still remains the heart’s guiding light, and such a light is the root of all calm.

藝術家自述

Artist Statement

「從容住」是一位藝術家回顧她三個不同階段時期所留下來的紙上作品,最後一個「孟都西娜」是最近期的,直接透過了紙筆墨鉛筆呈現的一個系列。有鉛筆寫生有水墨創作的「山系列」、「山水生活系列」。

在完成這系列之前,我從事了10年的影像工作,第一次回到紙筆墨鉛筆的創作。這個創作不同於過去想藉著畫布抒發傳達一些個人的情緒與理念「有話要說的情境- 創作乃是一種需要」,就如廚川百村所謂藝術是苦悶的象徵。

這些作品是人在山水之間,感受大自然的呼吸,記敘著潮漲潮退,作為一位藝術家(至少人們是這樣稱呼我的),把這一段白水之盟分享予人。有點像那些古代歌詠山川景物的詩人 ; 但更像電影裡的分鏡,近,中,遠鏡。這與我這些年來從事的影像工作有關,其實電影裡頭的近、中、遠三個最常用的鏡頭。從我創作的歷程似乎也謀和了這麼一個規律。年青時充滿好強與幹勁,在異國求學,直想把東方藝術的優質在我的創作中呈現。在吸收異文化的特質之時還有很多的衝突與不易釐清的情結相互糾結。

後來因身體上的傷害而走進修煉法輪大法,經歷了十年的時間,藝術不再是我唯一的精神出路,卻是與我生活中不可分割的一部份。

因緣際會,我用了水墨鉛筆素描的方式而不是大幅的油彩、蛋彩。與其說我選擇了材質,不如說我被選擇用它們來創作。 第一次用水墨創作卻有一種如遇到久違了的故人。現代人的鉛筆使用從H到F到2B到8B……豈止有五色之分,這裡頭有無止境的功課。

素描一直是奠定西方藝術裡最根本的一種媒材,難怪法國新古典主義畫家安格爾說 「素描是誠實無欺的藝術 (Drawing is the integrity of art.)」 。 他的意思是素描是藝術部門中,沒有人可以偽造的,直接呈現了藝術家的技藝、思維與狀態。我想這也是西方對素描定義「凡是紙上作品都叫素描,包括水彩」。對媒材的選用我已無分別心,那了天我又回去畫油彩,凡事水到渠成,這也是「從容住」展覽發生的因緣。

Carefree Living is an artist looking back on the paper works left by three distinct periods of her life, the last of which, the Mendocino Series, is the latest and is depicted using lead. The Mountain Series and Landscape Life Series use lead sketches to depict life.

Before completing this series, I had been working in photography for 10 years, but it was the first time I returned to brush and lead creation. This work differed from previous work in that I wished to use the canvas to express the emotions and mood of some individuals, “a state in which one has something to say – creation is still a kind of need”, like the Kuriyagawa Hakuson observed the art and literature are symbols of frustration.

These works were created when the artist was in the landscape, breathing nature in, narrating the coming and going of the tides, serving as an artist (at least that is what people call me), sharing this period of devotion with people. It’s a little like those ancient poets who wrote paeans to the scenery of the mountains and rivers; but within a more cinematic breakdown, into the near, mid-distant and distant scenes. This is connected to the work I did in photography over the years, actually, the three most commonly-used camera shots: near, mid-distance and far. This is a rule I have seemingly formulated through the process of creation. When I was young, I was full of ambition and enthusiasm, and studied in other countries, desiring to display the superior qualities of Eastern art in my work. When incorporating the characteristics of other cultures, there are many conflicts and complex connections which are difficult to clarify.

Later, I became involved with Falun Gong due to injury, and practiced Falun Gong for ten years: art was no longer my only spiritual release, yet it was an inseparable part of my life.

After a chance occurrence, I used ink and lead rather than a great deal of oil paint and tempera. Saying that I chose these materials would not be as accurate as saying I chose to use them in my work. But the first piece I created was like meeting a long-lost friend. The lead used in art today ranges from H to F to 2B to 8B… far from having only five colors, they contain endless lessons to be learned.

Sketching has always been the most fundamental of mediums in Western art, and it is no coincidence that the neo-classical French painter Jean-Auguste-Dominique Ingres said, “Drawing is the integrity of art.” He means that within art, drawing cannot be forged, but directly displays the artist’s skill, thought and state of mind. I believe that this is also the definition of sketching in the West: “any work on paper is called a sketch, including color paintings”. I draw no distinctions between different media, and one day I will return to working in oil painting; when matters come to a head, this is also an opportunity to which Carefree Living gave rise.

[ 展場照 ]

Installation View