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ft.水墨 Featuring INKART - 3D virtual exhibition by 晴山藝術中心 Imavision Gallery

ft.水墨 Featuring INKART

Sat, 08/14/2021 to Sun, 08/29/2021

curated by:

ft.水墨
策展人|吳宥鋅(國立臺灣師範大學美術系副教授

如果創作是精神想法與物質媒材的有意結合,那我們可以發現當前的藝術家,更重視的是如何表達自己的理念與想法,媒材對於他們而言,僅是一個〝被取用〞的工具。

當媒材(媒介)稀缺時,媒材本身的特質與限制,會直接成為該藝術表現形式的特色;而今日媒材不再稀缺,真正稀缺的是內容與想法,因此任何想法都被允許了:藝術家能談論宏大的願景,也可以只是私密的絮叨,有人圍繞著學術脈絡理性思考,也有人任性地感性發想。此時媒材、畫種是外者、是客人,是〝被邀請〞來參與創作的與談人,而主人一直是藝術家的想法,這就是ft.水墨的概念。

而有趣的是媒材也不只是單純的物質存在,在文化語境中它們也是一種符號,它有歷史、有脈絡、有情懷,很多時候藝術家使用了何種媒材,不單只是因為它的物質特性,而是它背後的符號性。在當代水墨中,藝術家選擇用水墨來創作,可能是想利用墨韻暈染的物質媒材性,也可能是對筆紙硯墨的情懷使然,可以是形式借用的混搭,更可以只是單純對東方文化的想像與偏好。物質上的媒材看起來只是工具,但其符號性卻映射並豐富著藝術家的想法,或許我們要ft.的,正是這些在文化語境中的存在。

本次展覽的藝術家:郭錦屏、呂浩維、陳昀翊,皆受過台藝大大學部與台師大研究所的訓練,在兩校觀念的碰撞中,打磨對經典水墨的理解,以及重新編輯水墨元素對於自己的意義。

在郭錦屏作品中,以最基本的水墨媒材,完成印刷般色調分離的普普藝術風格,而她的作品用墨色描繪著原先色彩斑斕的物件,是一種介在工業影像與傳統水墨間的美感,也是一種在當代生活裡,對東方內斂之美的審美直覺。

呂浩維對水墨審美的定錨是墨,因此筆與紙在其創作中被置換了,模型噴槍取代了軟性筆,現代插圖紙取代了柔軟的宣紙,他利用現代工具卻完成了有著經典山水美感的作品,一方面反應著生命經驗,也反應著對東方文化的特殊情感。

陳昀翊嘗試著從傳統山水中,提取水墨的形式本質,藉由畫面上山石、雲水的組織形態,以及虛實氛圍與意境的把控,同時試探何為水墨最核心的美感,用理性爬梳已經成為慣性的筆墨直覺,在反思與重構中,完成介在寫實與抽象之間的畫面。

ft.水墨想表達的是一種現象與概念,是活在當前時代下,以水墨進行創作的藝術家裡,許多人所共同反應出來的創作觀。在當代藝術中,水墨可以只是一種媒材,但它也不只是單純的物質媒材,它更多的是以符號的形式出現,並指涉著埋在我們文化基因裡的歷史刻痕,以及集體潛意識裡的情感密碼。
ft. Ink Featuring INKART
Curator|Wu Yeouxin (Associate Professor, Department of Fine Arts, National Taiwan Normal University

If the creation is a deliberate combination of spiritual ideas and material media, then we can find that current artists pay more attention to how to express their ideas and ideas. For them, media is only a tool for "used". .

When the media (media) is scarce, the characteristics and limitations of the media itself will directly become the characteristics of the artistic expression; but today the media is no longer scarce, the content and ideas are really scarce, so any ideas are allowed : Artists can talk about grand visions, or they can just talk privately. Some people think rationally around the academic context, while others think sensibly. At this time, the media and paintings are outsiders, guests, and the "invited" to participate in the creation. The master has always been the artist's idea. This is the concept of ft. ink and wash.

What’s interesting is that the media are not just pure material existence, they are also a kind of symbol in the cultural context. They have history, context, and sentiment. In many cases, what kind of media artists use is not just because of its material. Characteristics, but the symbolism behind it. In contemporary ink and wash, the artist chooses to use ink for his creations, perhaps because he wants to make use of the material and medium of ink blending, or because of his feelings for pen, paper and inkstone. Imagination and preference of Eastern culture. The material media seems to be just a tool, but its symbolic nature reflects and enriches the artist's ideas. Perhaps what we want is the existence of these in the cultural context.

The artists in this exhibition: Guo Jinping, Lu Haowei, and Chen Yunyi, all trained by the National Taiwan University of Arts and the Institute of National Taiwan Normal University, polished their understanding of classic ink and wash and re-edited ink elements in the collision of the concepts of the two schools Meaning for yourself.

In Guo Jinping’s works, the most basic ink and wash media are used to complete the popular art style of color separation like printing. Her works use ink to depict the original colorful objects, which is a kind of beauty between industrial images and traditional ink. It is also an aesthetic intuition for the restrained beauty of the East in contemporary life.

Lu Haowei’s anchor for the aesthetics of ink and wash is ink, so pen and paper were replaced in his creation, model spray guns replaced soft pens, and modern illustration paper replaced soft rice paper. He used modern tools to complete a classic landscape aesthetic. The works, on the one hand, reflect the experience of life, but also reflect the special feelings of Eastern culture.

Chen Yunyi tried to extract the formal essence of ink and wash from traditional landscapes, and through the organization of mountains, rocks, clouds and water on the screen, as well as the control of the atmosphere and artistic conception of fiction and reality, he also explored what is the core beauty of ink and brushed with rationality. The pen-and-ink intuition that has become inertia, in reflection and reconstruction, completes the picture between realism and abstraction.

ft. Ink and wash wants to express a phenomenon and concept. It is the creation view shared by many artists living in the current era and working with ink and wash. In contemporary art, ink and wash can be just a medium, but it is not just a pure material medium. It appears more in the form of symbols and refers to the historical marks buried in our cultural genes, and The emotional code in the collective subconscious.

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