標籤 水墨 下的所有文章

時光的詩趣 Poetic of Time Series (1990 – 92)

1989年5月在慕尼黑, 某天早晨我原本是計劃要到Linbhaus去看康汀斯基的展覽。 結果卻誤打誤撞的進了一棟老建築物。 其中有一個展覽室, 陳列了許多石雕頭像。 有好些已經是五官殘缺不全了。 它們都被安置在等身高的方柱上。 繞行其間有點像是走在人群裡。 晨光透過中庭樹林的枝葉間照射進來。 氣氛很靜很寧靜。 凝神之中, 那些面孔的表情彷彿活動起來。於是 一種深沉的心靈悸動開始了。 綿密而強韌的震撼衝擠過來幾乎使我不勝負荷。 在一個窗台上我坐了下來, 也開始思索這種從未有過的感受。 那股藝術品內在豐沛生命的奔流是如此的清晰而純粹。 說它純粹是因為這種感動是來自一群不知名的作者。 設若當時是站在米開蘭基羅的作品前面, 那感動是無法分辨是否摻雜著緣於背景知識所引發的崇敬。 我立起身來興奮的告訴自己:「以物質形態呈現的作品可以承載著作者不朽的精神。」 基於這種肯定, 人生的有限就不成其為悲觀的理由。 由此, 我的時間觀就進入了〝時光的詩趣〞階段。 同時也在自我期許的陶然中一腳踢翻了那個黑色的顏料筒。 作品中開始點染著明燦的希望之光。

I encountered a group of stone carvings of unknown artists in Munich when I visited a museum in the spring of 1989. Through a transcendental communion, I see the endless life of art. So, the sun shone high above and the darkness escaped away from me! With the expectation of possible immortality, colors singing with joy like clouds rambling under the blue sky.
It is a wonderful world!

 

poetictime1
1990,120x90cm

poetictime2
90-02,180x60cmx2

poetictime3
90-03,120x90cm

poetictime4
90-04,90x120cm

poetictime5
90-09,180x60cmx2

poetictime6
90-17,90x65cm

poetictime7
90-20,72x90cm

poetictime8
90-21,120x50cm

poetictime9
90-26,100x100cm

poetictime10
90-28,100x100cm

poetictime11
90-32,100x100cm

poetictime12
90-34,120x50cm

poetictime13
90-35,100x100cm

poetictime14
90-36,100x100cm

poetictime15
90-38,100x100cm

poetictime16
90-45,100x100cm

poetictime17
90-54,120x50cm

poetictime18
90-55,120x50cm

poetictime19
90-56,91x72cm

poetictime20
91-03,100x100cm

poetictime21
91-05,100x300cm

poetictime22
91-11,240x120cmx2

poetictime23
91-12,60x90cm

poetictime24
91-15,50x120cm

poetictime25
91-21,120x240cm

poetictime26
91-24,240x120cm

poetictime27
1991春

poetictime28
1991夏

poetictime29
1991秋

poetictime30
1991冬

poetictime31
92-20,80x80cm

92-29
92-29,80x80cm

poetictime33
92-32,120x200cm

poetictime35
92-35,200x120cm

poetictime34
92-36,180x40cmx2

poetictime36
92-38,200x120cm

poetictime37
92-40,180x40cm

poetictime38
水墨1992,180x50cmx2

            

無法之鄉 Rebeldom

無法而法,乃為至法 ———– 石濤

基本上,我的創作雖是以抽象的形式踵繼西方先驅者的腳步但精神的內涵上卻不離中國的文人本質。 由於早年的學習環境容許我悠遊於東西之間而引發了我思索中國藝術的傳統與未來的課題。曾在97年寫了一篇名為《破落的桃花源》(連結: 林論) 的文稿敘述了自己的想法,同時也身體力行的作了一些具有實驗性的作品。有趣的是由於之前在台北美術館發表了實驗性的水墨作品,我竟然在幾本台灣的美術史書中被歸類為「水墨畫家」。這些作品容或有些離經叛道但可以肯定的是我對傳統的尊重與善意!

Rebeldom ———————————- Color Ink
No rule is the best rule.
—She Tao

Stylistically, one can trace my nonfigurative works back to the Western masters. But spiritually, you can source them from Chinese literati. Thanks to the academic environment of my early stage for it provided me with good chances to browse freely on the territory of East and West. As a result, it prompted me to ponder over the past and future of Chinese art. In 1997, I wrote an article entitled “Demolition of Tao Paradise”(Link to: By Lin) to express my viewpoints about Chinese Art. At the same time I tried my best to work my idea in practice. It is interesting that in spite of my expertise, I was classified as an ink painter in several books of Taiwanese art history. It possibly resulted from my experimental ink paintings which have been exhibited in Taipei Fine Art Museum long time ago. To compare with the traditional style, these works may rebel against orthodoxy in a way. But in fact, I sincerely treat our tradition with high respect.

w1
水墨 1984,37x67cm

w2
水墨 1984,42x92cm
w3
水墨 1984,69x50cm
w4
水墨 1984,72x65cm
w5
水墨XM12-01

w6
水墨xM12-02

w7
水墨XM12-03

w8
水墨XM12-04

w9
水墨xM12-05

w10
水墨XM12-06

w11
水墨XM-12-07

w12
水墨XM12-08

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