Distance of light.Unknown land- Liao Chin-Hsiang Solo Exhibition

John Berger wrote in his book Ways of Seeing: ”Seeing comes before words. The child looks and recognizes before it can speak.

“But there is also another sense in which seeing comes before words. It is seeing which establishes our place in the surrounding world; we explain that world with words, but words can never undo the fact that we are surrounded by it. The relationship between what we see and what we know is never settled.”

Thus painting is created under this uncertainty.

 

The core of my creation is about binary tension—subject versus object, continuity versus discontinuity and light versus shadow, as I search for the difference (which is unknown) that lies in the distance in between them.

Meanwhile the binary tension in subject/object, reality/fiction, continuity/discontinuity and light/shadow makes them one, for they do not exist against the other. The binary pair completes and complements each other.

And the uncertainty between them is a distance produced by time.

 

After piece of scenery (a realm unknown) is seen, it becomes a blurred image of memory, of picture and of painting. Now it is the painting itself.

 

As time goes by, I continuously force myself in a certain distance. Due to my curiosity to the unknown, I explored, experimented with and investigated the spontaneity created by automatism on my paintings in progress continuously. This is for the purpose of creating the possibility of a binary pair in tension. I ponder the distance between my thinking and my work; but this distance in itself is seeing.

 

The distance of light is not a discussion about light in physical aspect, nor is it the light from Western art history which is widely discussed. It signifies the distance that occurs in between a painting and the sight and mind of its viewer. It is the inner interpretation of the painting by its viewer.

 

I apply pearlescent silver paint for the purpose of forming this distance between viewers and paintings. This produces a polarized light effect on canvas, which varies at different viewing distance and angles. Due to this effect, viewers may shift their distance from the work and thus recognize this distance.

This awareness of distance may furthermore kindle their inner interpretation and senses, so that they can hold a dialogue or an interchange with the paintings.

 

The distance of light lies in between sight and soul.

位在台南城區邊緣、仁德巷弄中的102當代藝術空間,12年前,由一位純粹熱愛藝術的「局外人」蔡玉盆女士成立;在小小的空間中,一個檔次、一個檔次地苦心經營,轉眼也屆12個年頭。

當年的蔡玉盆對於「當代藝術」,真的純粹基於「熱愛」的心情,既無經營的理念,也毫無賺錢的念頭,為的就是好玩;但當她拜訪美術史學者蕭瓊瑞教授時,蕭教授當頭棒喝,質問:「妳好玩,為什麼藝術家就要陪妳玩?」她才頓然領悟:開畫廊不能只是好玩,而是要有一些使命:把好的藝術家介紹給有品味、有眼光的收藏家和大眾;這樣的使命感,使她在純粹「熱愛」之外,多了更多的負擔。

12年的時間,證明蔡玉盆的努力,受到了藝術家的信任,也獲得了收藏家的支持,更吸引了大批未來的藝術家(學生)和潛在的收藏家(民眾)的衷心喜愛,她更為此舉辦了多場的研習課程與講座,培養了一批「熱愛」藝術的朋友。

12周年慶,102當代藝術空間邀請蕭瓊瑞教授擔任策展人,以歡喜過新年的心情,邀請12位曾經在102展出過的藝術家,回家團聚。名單排列出來,證明蔡玉盆經營、邀請的藝術家,都是當前藝壇的一時之選,包括:洪根深、賴美華、蘇志徹、鄭建昌、黃郁生、莊連東、謝其昌、蔡獻友、戴明德、伊誕.巴瓦瓦隆、蘇小夢、范思琪等,他們的作品都有一種精神上冥思、超越的傾向,極適合這樣的秘境空間。。

這是一場藝術家和收藏家與藝壇同好的新春團聚,也歡慶102當代藝術空間的12周年展;3月27日下午開幕茶會,4月18日則由參與的藝術家們座談。歡迎有興趣的朋友們踴躍出席參與。(文/蕭瓊瑞 教授)