Interviews on 文化快訊 CultureWeb

「筆」能言喻:夢寐及思緒展覽 / Unspoken Tales: Dream and Emotion Artists

 

簡介:
Introduction:

本地新晉藝術家梁依廷及黃向藝舉行聯合藝術展覽。兩位藝術家將以傳統中國工筆畫技巧呈現當代主題,訴說夢寐及思緒中的一個個故事。
Leung and Wong practice in the classical Chinese meticulous painting tradition of Gong Bi. United in their medium of choice, tales of the contemporary condition are evoked using the fine technique of ink and brush, allowing for undercurrents of dreams and emotions to percolate.

梁依廷 – 尋找夢寐的溫婉之境
梁依廷擅長以工筆畫刻畫日常生活中的一景一物:懸掛的燈泡、佇立的鏡子,還有款款看來美味可口的食物……然而,這些仿似一般靜物畫的筆觸背後,卻蘊含夢寐 般的故事。細心察看,你會見到燈泡內的不是烏絲卻是蒲公英;鏡中的不是倒影而是觸手可及的實物,還有浮在半空的桌布、輕輕飛舞的蝴蝶……都在現實與夢幻之 中交替隱現。
梁依廷的作品筆觸細緻,善於運用中國傳統工筆畫的筆墨和渲染技巧,以及富當代感的創作元素,來記錄腦海的奇想與加密的小故事。日常飲食是她喜歡的題材:港 式點心、甜點、茶餐廳、涼茶舖等都被她攝獵於畫中,聊以自娛。是次展覽的其中一系列作品「張愛玲語錄」,更是她以鍾愛的文字所轉換而成的動人圖像——彷如 張愛玲與梁依廷的一場夢寐對話。
Eve Leung Yee Ting – Seeking comfort amidst dreamscapes
Leung uses gong bi to record the mundane objects and scenes that inform our daily lives, from the lightbulb and standing mirror to the very food that we consume, the artist is entranced by these humble objects. It is this very act of documenting that reveals the fantastical caprice of these inanimates; a filament maybe a dandelion flower whilst a reflection maybe a portal into another vision of floating, lightness and butterflies. It is through the minutiae that the tenuous connection between dreams and actuality may converge.
Leung renders her imagination and the hidden stories in her thoughts and dreams through the descriptive nature of Gong bi, coupled with a contemporary creativity with each moment carefully considered and portrayed. Local food habits synonymous with Hong Kong form a vast pool of inspiration for Leung: from dim sum to desserts, cha chang tengs to herbal tea shops, her works are physical manifestations of her inner wanderings. The exhibition also presents the series Quotations from Eileen Chang, visualizing on paper the artist’s interest in local literary heritage – seemingly a castle-in-the-sky dialogue with the tour de force writer.

黃向藝 – 沉溺沒有性別之分的愛情
黃向藝的畫風明顯受日本流行文化影響,同樣以中國傳統工筆畫的手法創作,卻取材自日本漫畫中男男戀 (Boys Love) 的「耽美」文化。「耽美」一詞有沉溺之美的意思,黃向藝通過作品,將個人的思緒和對愛情的幻想投放到作品的角色之上。
黃向藝推崇工筆畫精細的線條以及賦色,認為它足以誠實地體現藝術家的精神狀態;與此同時,她卻希望為工筆畫擺脫「傳統」的枷鎖,賦予它更多可能。
黃向藝的作品看以溫婉含蓄,卻有著大膽的意念;男性角色們不經意地、陰柔地展露惹人遐想的身體及容貌,而周邊的一事一物則有意識地滲透出她對世俗目光抗衡 。最新的作品「淖溺」之中,正在落髮的花樣男子沉溺於綻放的花卉當中,平靜而震撼,觸動人深層的思緒。
Wong Xiang-yi – Wondering in an asexual love story
Though practising in gong bi, Wong’s oeuvre is clearly influenced by “Yaoi”, also known as “Boys’ Love”, a Japanese popular culture of female-oriented fictional manga, which focused on homoerotic or homoromantic male relationships. The artist reveals this sub-culture of female preference to engage with visuals that depict the metrosexual male, ones that display a softness of character and a touch of femininity. Through the protagonists in her works, Wong sets out a very personal emotion towards love, sexuality and relationships.
In parallel, Wong has aspirations for gong bi to break from the shackles of tradition, embracing the medium’s breadth for a contemporary re-interpretation, achieving a new aesthetic with detail, elegant lines and colour.
Wang juxtapositions the visually soft with concepts that are hard – reevaluating the ideal male form in the 21st century, and blurring the lines between preconceived ideals of beauty according to gender. The world has to contend with the transformative gaze of Wong, in her newest work Indulge, a beautiful boy has his hair shorn amongst tender blossoms – a still and yet powerful image.

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