生田宏司銅版画美柔汀展

  ——自畫、自刻、自刷:浮現在漆黑的小宇宙中讓人不知不覺中愛上的事物。

 

生田老師是多摩美術大學的畢業生,原本是專攻日本畫,美柔汀銅版畫大部分是自學成才的。對於每幅圖像,藝術家必須首先使用帶有許多尖點的搖桿工具在銅板上製作小坑。搖點整個表面後,如果要對印版進行上墨和印刷,則結果將變成天鵝絨般的黑色。傳統上,藝術家之後會返過來打磨並刮擦這些凹坑,以使它們容納更少或沒有墨水。最終是在深色背景上顯示出淺色圖像。

 

稱作是黑的技法、17世紀誕生於歐洲銅版畫美柔汀(Mezzotint)是一種作成纖細地幽深的天鵝絨毛般的黑色。美柔汀(Mezzotint)是一種黑色的曼努埃爾(法語。“黑的技法”)銅版印刷技術。首先,使用搖桿工具在銅板上刻有無數的細槽,以製成黑色底座。然後,銼平和拋光凹槽,產生半色調。為了進行印刷,將板在壓力機中壓制及搖點,這是需要經驗豐富之專業技術的技法的過程。 最顯著特徵之一是產生的深深沉思的黑色氛圍。

 

生田宏司老師的代表性主題FUKUROU(貓頭鷹),把貓頭鷹的羽毛以及貓咪的毛髮、植物等等所擁有的柔和質感及神秘的生命感,以稱作是黑的技法的銅版畫美柔汀,用驅使卓越的技術,精緻地表現出幻想的世界。在許多國際展上獲獎,國際的評價上也相當高,美國、西班牙、烏克蘭、法國等地舉行個展。特別是法國,從2000年開始每年各地有舉辦個展。

 

在日本國內,晉升為每年於全國各地約20個地方舉行個展的人氣作家之一。台灣方面,於1989年所舉行的第四屆中華民國國際版畫(雙年展),獲得行政院文建會主任委員獎、之後兩度參加於台灣所舉行的國際作家聯展;此次為在台灣第六次的展出。

拄天拄地-鄭建昌創作展

The works of Cheng Chien-Chang are centered around the theme of “land,” which refers to not only the native land of the living but also the Land Deities, guardians in Heluo language. Cheng’s concern and sentiment for the land include environmental considerations as well as historical and cultural reflections, which further refer to social and political critique. However, Cheng’s works always contain simple, mild, and constrained methods, qualities which reflect that artist’s temperament, determination, and persistence without exaggeration and deafening exhaustion.

In the works of Cheng Chien-Chang, humans and land, gods and history, are one, a universal state of coexistence and circulation. Sometimes, the fates of people are etched on the island; sometimes, the motionless gods are like towering mountains. Human beings move between space, cultivating the lands, sometimes resembling the short life spans of ephemera, but other times reminding us of the eternal Tree of Life, new branches sprouting from the old, withered trunks, and transforming into dirt after death, nurturing new life and blooms. This cycle of life and the colossal wheel of history go on and on. In the works of Cheng Chien-Chang, we catch a glimpse of the sentiment towards the land, love for the people, forgiveness towards the past, and hope for a beautiful new world.

Cheng’s land is the dwelling for the Original Spirit, while the Original Spirit enables perfection among all things. Chang’s love for the land and contemplation towards life originated from his early life experience in the city. The artist contemplated on civilization and finally returned to nature and became an avid learner of history. Cheng read historical books and fiction on Taiwanese ancestors, understanding the difficult past of our forbearers as they cultivated the wildland. The artist also understands the pressure from power and the struggles of life, which led to a caring, humorous sentiment that endures sadness without complaint, resistance without violence, and satire without ridicule. Cheng’s works inspire warmth, contemplation, serenity, and a peaceful state of mind.

The works of Cheng Chien-Chang merge folk legends and symbols, conveying mystical ideas of Animism and the cycle of life and death. However, Cheng is a devout Christian, and Christianity upholds land justice and people’s right to self-determination, which is often misunderstood as political paranoia. In truth, the works of Cheng Chien-Chang are manifestations of the central belief in faith, hope, and love.

The Introspective Gaze…

Guillem的創作發想圍繞著一些概念,例如記憶、空間的表現以及建築上的空間動力學。透過繪畫,運用繪畫語言和建築圖形系統表現出新的真實性。利用扭曲的建築外觀去質疑當代常見的個人再現空間。

非地方(Non-place)和對抗空間(counter-space)融合在創作過程中,從烏托邦和監控(尚未建成的)建築借用影像文本,因此這些空間是破碎且重新並置在畫面上。破碎、解構和透明化的表現方式使新產生的空間和超現實的結構作為對空間的質疑及(實體的和虛構的)再現於記憶痕跡中浮現的力量語法(the grammar of power)。透過結合不同意義層次達到這種新的再現,表現出破壞過去經驗的裂痕,最終產生出新的矛盾。

Myriam的作品出發點,是透過心來觀看內在與外在的空間聯結現象,一種來自心裡最深沉的想像與思維,透過眼的觀看與手直接的捏塑,傳達內在與外在環境空間的穿梭性,同時在作品的人為痕跡裡散發出個人情感思緒及獨特思維。「直覺」一直是Myriam創作的形式與手法,在直覺中找尋內在的真實感與實在感。如同愛因斯坦曾經說:「直覺,而非智力,是你自己的芝麻開門」。在創作的過程中,透過「物」與「我」、「內在」與「外在」、「精神」與「物質」相互滲透,互相參與的過程,來探求自己心象與圖騰的對話。

在「身體」與「人頭」系列中的作品,簡約裡帶有繁複及觀看世界的視角,如同「人頭系列」裡的眼睛圖騰,「作品中的眼睛,一隻來自西方,一隻來自東方。藉由這對雙眼,可以往內看,往外看。」在「收」與「放」的節奏裡,靜靜地觀看生命的變化,同時也注視著觀者與環境的變化。

Land Flavor: Hsieh Chi-Chang Abstract Creation Exhibition

The concept and work-foundation of “Land Flavor” was formed by Hsieh Chi-Chang as a recap after his previous artwork series “Natural Overture” and “Travel Trace”.

 

By going through all the working experience and process repeatedly with the personal life experience which he had been through, he was able to unleash a true side of his feeling toward the nature and reevaluate the gap between him and the environment as a human being but not as an environmentalist.

 

The ideas of his art work are based on freedom and self-intuition. In every artwork of him, a pure focus and simplicity were expressed by interaction between the nature and harmony to wake every hidden part of how the humanity might have based on what they saw at their surroundings. The mix between Calligraphy and graffiti were combined and used as one on the paintings is to demonstrate the balance and connection between Eastern and Western art, and also to show the ideal “inner map” for everyone based on the way they look at the nature.

 

There are couple thing which the audience could discover from the exhibition. For instance, the writing and symbol that based on random graffiti and calligraphy etc. They stood out as the trace and inner memory that humanity and the nature ever shared. Each brash stroke shows the multiple combinations between how human life is intertwined with what they have experienced through natural and how and what they seek to perfect their work for the nature or environment. In other word, it is like viewing an ambiguous vibe from everything that has been existing for a long time to “How” they are perfected to be a better piece of art work.

《尋。流向》|空間的寄寓水墨聯展

流向,可能是外在環境集體形構的風潮,以真實而具體的面貌存在;或也可能是個體自身內在體驗的想像,似抽象而模糊的浮影召喚,而無論清晰與否,人受到外部社會驅策與內心想望驅使,追尋與個人感應的世界對話,始終是生命存在的核心意義!

當代水墨創作者,面對的是在自身生命追尋的價值澄清、與水墨風向流動的脈絡理解的雙重情境中擺盪。對他們而言,生命與創作都是既自由又侷限下的兩難,似在眼前親近環繞又倏而飄忽遠離,他們彷若悠游水中又受限水域的魚兒,看見了如真似幻的世界,追尋著內在編織的理想桃花源!

於是他們藉由魚兒本身的華麗,轉身探向虛無與飄渺的空間,進行對探尋的意義表述:吳惠淳的迷濛詩情,照見魚兒與環境的諧和共在,彼此相呼互應的情境,在她的作品中,相同色域的鋪陳,共構彼此相融的表象,卻是一種相對迷失的概念。楊宛真的魚缸視界,看到的真實,卻是永遠不可企及的存有、互動與對話,其實是構築在想像中的獨角戲。於是,在看似愈熱鬧喧騰的環境中,愈是顯現自身孤寂與落寞。呂浩維以水光斑斕的狀態表述追尋過程中的積極意義,彰顯了即便是在岩石滿佈的環境中依然奮力前行,投射自己在創作歷程中不斷尋求突破的決心,然絢麗的背後,存在些許惶恐。孔雱瑩的半透明紙材複貼,在掩與透的關係變換中,主體與背景交替穿梭,一進一出之間,移動了空間隔離的界線,似也模糊了追尋的方向。

四位年輕世代的水墨創作者,共同以魚的意象分別表述個人內在的狀態。在指涉一種朝向「追尋」的相似命題裡,透過水墨氛圍的營造,似乎同時形塑了新的水墨流向。因為回身望向自己,魚兒本身即是華麗的身影,一如水墨風采!