藝術家自述
文/鄧卜君
「墨幻搖滾」是此次展名，策展人王焜生在酒酣耳熟之際，說出他對我的畫的感覺，有浪漫搖滾的味道，這是第一次有人如是說，也讓我對自己作品，有新的角度，再檢視的機會。「搖滾」是什麼？有人說是一種精神，有反抗、釋放，更有更深層的反省之意，它不但在60年代後在流行音樂上大放異彩，更在世界上各層面，引發不同的變化，影響之大，無遠弗屆。
「國畫」是中國畫特有名詞，它像包袱，也如魔咒般的揮之不去。19、20世紀才有水墨、彩墨等名稱出現。中國畫學習過程是個奇怪師承關係，「臨摹」是個固定方式，很少人問「為什麼」。學校畢業後，我自修再從唐、宋、元、明、清入手，去找出中國畫的觀念和筆墨的原理。發現，中國繪畫問題，也就是教育養成有問題。尤其是在元、明文人畫與興起後，由文人主導的繪畫觀點，其中把繪畫變成符號、相互模仿，導致酸味、腐味四起，終變醬缸一醰。民國後，雖有些大家聞名於世，但還是在文人思想筆墨下匍匐前進。1957年，隨著齊白石過世，在台灣五月畫會成立，當時劉國松先生是成員之一。30年後，90年代他提出革「中鋒」之命，成為現代水墨之父、當代大師，在那年代，做革命家是恭逢其時，政治也趨民主，大刀闊斧，是必須的。而後，臺灣水墨也變多樣化了。但我發覺，很多的水墨創作都是從西方的觀念或構圖來呈現，而中國特有的筆墨韻味卻弱了。停了很久的筆，蠢蠢欲動，一直在思考，如何用最傳統的筆墨，走入當代水墨之域。
其實，中國繪畫最美也最有味道，變化最大就在筆墨之運用，不只是工具的特殊性，更是東方繪畫無可替代的明確性，所以我一點都不想放棄，更加用心學習筆墨的技巧與成因，變化出更多用筆用墨的技巧。但我又不想用筆墨來描繪真實的山水與實物，因為唐宋時期，已表現的淋漓盡致了。空間轉換，是我從1996-1999年間，體會出一種繪畫方式和觀念。用立體的石頭，當成繪畫素材，石頭上有「凹」、「凸」，構圖完全不由自己，但主導完成又是我，作品完成時，有著莫名又奇特的視覺感受。而後我再把畫石頭的空間，直接挪移紙上，畫出《盆景奇石》系列，在不同的筆墨技巧牽引下，穿梭於立體山水之間，魔幻空間就此形成。這也是我創作中，運用最多的題材。人的思維、想像永遠是無窮無盡，而生活中的體認，如可用想像當成創作泉源，讓它們幻化成不同形體與空間，這是非常有意思的事。這次展出有幅作品〈我愛卡門，更愛馬甲〉在生活中，「卡門」是世界的經典，但離我很遠，馬甲卻到處可見，這就是我把平常生活遇見之事化成色色的想像空間，諸如這系列作品有〈沙皮狗〉、〈落葉千秋〉、〈活火山的浪漫時光〉⋯⋯等。我常看我有些作品發呆，腦子一直在想，這作品是如何畫出來的，過程忘了、技巧也忘了，也許這是我創作後的後遺症吧！
我，生活非常穩定而無聊、孤獨又無趣。但這也形成我創作最好的空間與力量，一定有人說我在講鬼話，這是事實，也是另一種體悟，每天如公務人員一樣，上班、下班、吃飯、拉屎、運動，但這一切都是要自我約束控制的，學會用腦子去想像生活樂趣，轉換空間變化，就可體會我的能量來源。「墨幻搖滾」就是兩個男人腦子相撞後，再加上一點好酒的結果。
Artist Statement
Text/TENG Pu-Chun
The exhibition title, Rock the Dream, Spirit of Ink – TENG Pu-Chun, was revealed to me by curator Emerson Wang when we got a little tipsy after several drinks. He told me that my paintings embody characteristic of the romantic spirit in rock and roll music. It was the first time that a person ever described my work in this way, which gave me a chance to examine my work from a new perspective. What is “rock”? Some people consider it the manifestation of a rebellious and liberating spirit; but it also implies a deeper sense of self-reflection. It not only became one of the prominent genre in pop music after the 60s, but also led to changes and created impact on different aspects in this world. Its influence has been so great that one cannot clearly define it.
“National painting” was a specific term that referred to traditional Chinese painting. It was like a burden of a cast spell that could not be undone. The names of ink and color ink did not appear until the 19th and 20th century. The teaching and learning of traditional Chinese painting is conducted through the peculiar master-pupil system, and the pupils always starts with “copying” the works of past art masters without really asking why. After graduation, I taught myself by studying paintings from the Tang, Song, Yuan, Ming, and Qing dynasties, through which I explored the concepts of Chinese painting and the principles of using ink and brush. I realized that the problem of Chinese painting had its root in the problematic system of education. In particular, after the literati painting became the mainstream in the Yuan and Ming dynasties, literati dominated the theoretical discourse of painting. They filled it with symbols and copied each other, causing the deterioration of the art and the eventual loss of its vitality. After entering the Republic era, although there were renowned masters, they still followed the concept of the literati painting to create their art. In 1957, Chi Pai-Shi passed away, and the May Art Group was founded in Taiwan, of which Mr. Liu Kuo-Sung was one of the members. Thirty years later, Liu proposed the idea of revolutionizing the genre of its use of the “middle hair brush,” turning himself into the father of modern ink painting and a contemporary master. At that time, Liu’s status as a revolutionary figure was the result and making of a changing world, in which the political climate also moved toward democracy; therefore, drastic measures and changes were necessary. Afterwards, Taiwanese ink painting became diversified. However, I found that many ink paintings were created under Western concepts or with Western compositions, and lost the characteristic charm of Chinese ink. I stopped for a long time, preparing myself while pondering on the question of how to create contemporary ink painting with the most traditional ink and brush.
As a matter of fact, the most beautiful and charming part of traditional Chinese painting is the use of ink and brush, which demonstrates a vast range of variations. They are not only unique instruments, but also representative, irreplaceable features of Eastern painting. For this reason, I did not want to give them up; instead, I worked harder to study the skills and basics of ink and brush, creating more distinctive techniques. However, I did not aim to portray realistic landscape and objects with ink because it had been developed to perfection in the Tang and Song dynasties. During 1996 to 1999, I found a new approach and concept to painting, which I called space conversion. I used three-dimensional rocks as a painting material. The protrusions and indentations of rocks would take over the control over composition, but I was the one that was creating the painting. When the work was completed, it conveyed an indescribable and strange visual perception. Then, I transferred the space of the rocks onto paper and painting the series of Potted Landscape with Weird Rocks. Led by various ink techniques, the three-dimensional landscape was formed, creating the magical space. This is the motif that I have painted the most. Human thinking and imagination are always unlimited. Realization in life can become a source of inspiration through imagination, and be transformed into different shapes and spaces. I find this particularly interesting. On view in this exhibition is a painting, titled I Love Carmen, but I Love Corset More. In life, Carmen is a world classic that is unfamiliar to me whereas corsets can be seen almost everywhere. So, I convert what is commonly seen in ordinary life into an imaginative space that is a bit erotic. This series of works includes Rare Store and the Dog, Fallen Leaves, Romantic time of the active volcano, etc. I often stare blankly at some of my works and think about how they are painted and find that I have forgotten the process as well as the techniques. Perhaps, this is an aftereffect of my art-making.
My life is very steady and boring, lonely and uninteresting; however, this lifestyle has offered the most ideal creative space and energy for me. Some people might think that I am being nonsensical, but this is a fact as well as an understanding of life. I follow a daily routine like a government employee, getting to work, getting off work, eating, sitting on the toilet, exercising… In fact, to maintain this routine requires the power of self-control and demands one to create the fun in life with imagination. By converting the space, I can find my source of creative energy. Rock the Dream, Spirit of Ink is simply the result of two guys brainstorming together with a little ‘magic’ of good wine.