我的作品風格一直探求中國畫和西方媒介的結合。中國畫傳統是使用墨水,礦物顏色等畫在絹本或者紙本上。雖然在香港長大,但一直接受的大多是西方的藝術訓練。在2018年,我先後到訪了中國西寧學習佛畫唐卡,和到日本藝術居留,意識到,由於語言,信仰和生活特質的不一樣,這些經歷讓傳統東方畫在構圖,筆觸等有截然不同的感覺。我透過日常生活中的紀錄和影像,加上感官和記憶,構成一個融合記憶和幻想的景觀。而使用了墨水和絹本作為媒介,加上留白的虛實對比,達到一種中國畫特有的氣質。 |
My style of work has been exploring the combination of Chinese painting and Western media. Traditional Chinese painting is to use ink, mineral colors, etc. on silk or paper. Although growing up in Hong Kong, I received mostly Western art training. In 2018, I visited Xining, China to study Buddha painting thangka, and stayed in Japan for one month for the artist residency program. I realized that due to differences in language, beliefs, and lifestyle, these experiences make traditional Eastern paintings have a completely different composition, brush strokes, and feelings. I use the recordings and images from daily life to form a landscape that combines memories and fantasy. I found that Eastern aesthetics and literati thoughts had been deep-seated in my personality. Since then, I combines ink, acrylic, Chinese pigments on silk as painting media, and the emptiness in painting achieves traditional Chinese aesthetic.
|
花非花在「花非花」這個系列,我想表達的是循環不息,萬物的交替。靈感源自於所有事物都在不斷流轉和變換,一塊石頭,它是沙,是水,曾是萬物。而我們所見的世界,只是其中一片刻。所以我的畫作主要以圓形為主,用建築、植物和代表城市符號的幾何圖形互相纏繞,交替。以此表達事物生生不息,不斷改變,被取代,生活無常,沒有起點或終點的狀態。「花非花」取題來源於中國古代詩人白居易的詩句,表達事物的虛幻和易逝。
Flower no FlowerIn the series "Flower no flower" I want to express the endless cycle, the alternation of everything. Inspired by things are always changing, inconstant, undergoes rebirth, and death. So my paintings are mainly in circle form, with buildings, crystals, stones, and plants in a winding way to express their interdependence and the cycle of birth and death. "Flowers no flower" this title named from the poetry of ancient Chinese poet Bai Juyi, expressing the illusion and perishability of things.
|
夢世紀這系列主要探究人類和自然之間的關係。在到訪西寧學習
唐卡和參加北海道天神山的藝術家駐留後,感受到自然和宗教的力量。相反在香港城市的密度壓迫下,人們便缺少空間去感受大自然的神秘,我們總是忽略那些圍繞在身邊的平常景觀。“夢境是個人化的神話,神話是去個人化的夢境”無論中西方,在古代都總有各種各樣的儀式去表達成長、勇氣和歷練使靈魂變得更加完整。而在現代,我們則靠夢境進行這一系列的心理暗示。我把所幻想、所恐懼的都畫下來,它們就像我夢境的延伸,也是我在尋求生命真理過程的儀式。一開始對神話感興趣是因為閱讀了山海經,它把真假揉合,有些動物是真的,大部分卻是關於山中神明和開創世界的神獸。當給予它們會出現的地方和特徵等詳細資訊之後,這些幻想突然也變得真實。然後我開始閱讀傳說和神話,它們彷彿填補了我對世界未知的空虛,而讓我在面對恐懼,悲傷和死亡時帶來平靜。 The DreamtimeThis series is about the relationship between nature and humans. After finishing the study of thangka in Zi-ling, and then participate in an artist-in-residence program in Hokkaido, Japan. I think because of urban sprawl in Hong Kong, there is no space for us to imagine the mysteries of nature. Too often we ignore the beauty around us. "Myths are public dreams, dreams are private myths." In both east and west there have always been various rituals in ancient times to express growth, courage, and experience to make the soul more complete. In modern times, we rely on dreams to make this series of psychological cues. I drew everything I had imagined and feared. They were like extensions of my dreams and rituals in the process of seeking the truth of life. At first I was interested in myth because I read Shan Hai Jing. It blends truth and falsehood. Some animals are real. Most of them are about the gods in the mountains and the beasts who created the world. When given detailed information about where and where they will appear, these illusions suddenly become true. Then I began to read legends and myths, which seemed to fill the emptiness of my unknown to the world, and let me bring peace in the face of fear, sadness and death.
|