Surface is depth, not expanse / giulio angelucci
In the banality of a happy ending, one of the duelists yields and the victor, in losing hid adversary, kills his “Own” antagonist embodied in the figure of the person against whom he was fighting. On consideration, now that the great cloud of dust caused by the fall of the Wall is dissipating and everyecho of the clamour engendered by the fall has quietened down, the disappearance of the shadow antagonist of our Western civilization re-evokes Mao Tse Tung’s aphorism on the two halves of the sky. Along with the Iron Curtain, the possibility suggested by thedemarcation line marking a place which was beyond what is our “Own” also vanished:
But the sky is depth, not expanse.
The deep sky of certain obsessively fine days (full of a clear and intense luminosity, outside any seasonal definition) could be described as “enameled”. The adjective refers to certain old goldsmiths’ enamels, obtained with the inclusion of opaque material whose glazing -rather than volatility – confers mineral compactness, hardness and thickness. But the resulting abyss of light and colour is not within the fused substance, it is as if it were extracted and concentrated in the infinitesimal thickness of the reflective quality of the surface. In the same way in which theshining light of Stanley Kubrik’s film The Shining allows the main character – fully and deeply – to move blindly through the snow-covered labyrinth, his pursuit of the dark is illuminatedby surface gleams which are instantaneous and crystalline.
What else can be said of the imagined idea that is being propose here, which resides and breathes in a space with no thickness or content, with no thought or psychological sense? The soulof the West consisting of the superimposition of “feeling” romantic over “seeing” in perspective, finds inconceivable the idea of a sensibility that has historically been WITHOUT these things. But in accepting this idea of the East as the vertigo of the unthinkable (without cautiously turning one’s eyes away and without giving in to the seductive headiness of holiday exoticism) one discovers in it an unexpected workability.
In the world which has been globally reduced to its own half, where walls no longer separate from anything and where no distance exists between us and the impossible, the “beyond what is our own” seems to make a return in the possibility of a future natural condition, to be won back beyond the hopeless demise of the original inheritance which was founded by the explorability of the world.
Having lost the original Principle(the created world), the anxious vagueness of an infinite recreation establishes the only possibility (and therefore the absolute necessity) to constitute countriesand worlds upon the necessity of the impossible.
Countries and worlds to create, not to explore. Thus they are places of projection, unconditioned screens, mirrors which exclude all presupposition.
And they air also enameled surfaces: intense, deep, indifferent to all definition.
I believe that the main reason for interest in this exhibition lies in the particular circumstances surrounding the training of Wu Ying-Hai and Chen Wen-Chih, both Taiwan Chinese, both little more than twenty years old.
Descending from the teachings of Hsiao Chin and from the cultural meditation in which he evolved, their work creates a compatibility between western aesthetics and the perspective of the oriental imagination. For this precise reason it provides exceptional access to that WIYHOUT of psychology and space that would normally be inaccessible to us.
It is therefore possible that, notwithstanding the philosophical and religious motivations that Wu Ying-Hai allows in his work (and beyond the aesthetic awareness which feeds it), his painting offers a germinal and assertive quality, a full plausibility of the the world creates it. This is an ethical factor which corresponds to the fact that this quality dwells entirely within the format, the material and the system of the painting. What this quality determines and prepares excludes – at least to our eyes – every metaphorical and gestural insinuation, every possible reference to a content and to an existence which is outside the image and which precedes the painting.
Younger also in chronological terms, Chen Wen-Chih, for his part, proposes explosive images of scintillating and playful mobility. His luciferian kaleidoscope promises an endless performanceof shapes, colours and stories. It produces a joyful intrusiveness (it has been called “A Utopia of the heart”) that makes the painting ingo the myth of variety, of challenge, of lightness, of seduction, of mirth and of wonder. It is able to float zestfully upon darkness, to slide vivaciously into the heart of conflict and to emerge sensullly from anguish. It manifests itself. It is tragic and optimistic, like the tireless eternity of play.
As Wu Ying-Hai proposes ‘concave’ painting, so Wen-Chih offers ‘convex’ painting.
The figure of the lens, which is the result of these two opposite types of surface is the introductory metaphor of the exhibition. Look at the painting. Not in order to reform the world, but to recreate the imagination.
(translated by paul bowley)
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開幕茶會
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開幕茶會
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開幕茶會
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開幕茶會
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與策展人合影
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與蕭勤老師合影
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與畫廊主人合影
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與畫廊主人合影
訪 客 留 言 版
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藝術家您好
一個迷思請教您
像是以前的半自動性技法表現
與像您與蕭勤、陳世明、阿卜極等藝術家
以道或禪為創作基本
和所謂的繪畫性
綜觀三方面是否有同屬性質？
感謝您 祝好
斌 / 2007.0907
以形式上來說多少會有些相同
但是出發點不同
自動性技法是以技巧為導向的
嚴格來說是一種想要由表層進入內在的一種方法
但以實際情況而言那並不容易
因為藝術家並未能真實的進入那個狀態之中
只是以頭腦思維邏輯為取向的創作行為
最終還是不能逃脫於形式的局限
而只能停留在形式理層
但作為一種過渡
卻是創作上向精神領域試探的可行方法
佛、道、禪是以靈性為基礎的實修
真實達到心性的深層智慧時
理解了萬事萬物的道理
才能沒有疑惑於所有技巧和非技巧的東西
因為沒有了能夠分別的心
事物都能安住融合為一炁
當下的時間感才會減少
點、線、面的思維也會被抽離
內在成了外在
外在也是內在
肉身與靈性成了一個完整的生命質理
由此心力的發射
生命質能轉換於無形的時空
肉身的思維會越來越不明顯
一切則以最高的法性為自然
靈性系統與不同時空的本質相連結
不管是以直接或是直覺性的方式傾向
呈現的都是一種啟發性的學習
在此
創作成為一種修鍊的手段
作品則是過程中遺留的痕跡
繪畫已不再是繪畫的時候
也就沒有繪畫性的問題了
2007.0911
意 念在相同中 ………
凝 結著差異的陌生
孤 獨在秩序裡
不 斷的尋求
逐 漸而緩的寂靜
像 古老的開端
在 這裡累積
那 景物觸動我的心
我 心將長存
猶 如落葉的歸息
………………………………………………………………………
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