Date 24 2 月, 2022
Project Type 2022

DATE

05 Mar.,2022 –

30 Apr.,2022

ARTIST

楊智富

Yang Chih-Fu

TYPE

Exhibition

文/楊智富

順著上次個展《粉塵(Dust)-2019楊智富個展》,我持續著意猶未盡的黑色色系與白色色系的畫作,也就跨入了影響全地球生物命運的2020年。

和不少人一樣,而我則更為單純,從家到工作室兩點一線的日常生活著。似是和外在世界(那個曾經的光輝太陽)維持著一線之隔自我防疫狀態!而一隻隻變種病毒如同看不見的粉塵,飛馳在工作室外頭,雖見不著卻真實感知牠的存在力道。

在某種巨大力量牽引著渾沌難明的處境中,反而提供了某種自我省視自身的微妙清明空間。我察覺到黑色色系吸引我的居然是這薄薄畫面的操作過程和結果:即是從圖像到藉由影像化,再到圖像化處理後的黑色畫面對於視覺觀看,特別是拍照圖檔(影像化),所造成的難以辨識的狀態!縱使這當中出現一絲絲對於影像化的挑釁意味,卻完全不是預先設想的。而白色色系畫面那一層微微霧氣也不是去特意畫出來的,而是在幾乎全白的色塊線條之間的自我撞擊所生成的。

而這也就敞開了另一份察覺─藝術創作對我而言,重點在發現而不在創造。創造屬人為,人為有限,而發現無窮。而過去常掛嘴邊的所謂建構自己的「繪畫語言系譜」也不過是所有創作行徑足跡的統稱吧?

當正視了那股渾沌難明、曖昧不清,卻又明確存在的觀看和意識,於是我在豔陽之外,注意到那個「蔭」的所在。這也是新作品《粉塵系列─蔭色系》的緣起。

《蔭色系》全屬灰暗階色系,畫面初看像似在昏暗房間觀看事物不甚清晰,總想起身開燈照明的想望?感覺似乎同時具備黑畫的難以辨識又具白畫霧氣效應──

行走在艷陽下,「蔭」代表著伴隨陽光移動的介面,可能是代表涼爽、休憩慾望,同時又帶來幽暗、神秘與恐懼內涵。而走出豔陽進入蔭處,那剎那的情境轉變,都將對身體與感知產生瞬息變化。在我的創作認知上,《蔭色系》碰觸的應該不過是乍入蔭處那5秒不到的行為感知變化吧?

這次2022個展展名最初出現的是「4分33秒」。一方面是對音樂大師約翰•凱吉(John Milton Cage Jr. 1912-1992)的尊崇,再方面是這件作品所勾勒出的那個被定格下來的短暫時間所生產出的無限聲響的無窮想像,力量非凡!可以說和我《底層與完成》(Bottom and Completion)作品的底層觀點具備連結意涵;當然,也和《蔭色系》那5秒帶有對應可能。只是,想是屬於創作以外的工作,就不去參和了!

個展中確實還有展出幾件《底層與完成》系列作品,其中一件大畫,底層工作早在2007年左右進行卻遲遲沒有完成,直到2020年新冠病毒猖狂發威時期再次拿出進行作業,直到一年後的2021年為期一年方才真正的完成!人的生命究竟有幾個十數年?我們又該如何面對種種的4分33秒或一次次的進出5秒抉擇和體會?

In the wake of my previous solo exhibition of 2019, Dust, I entered the fateful year of 2020 – one whose impact was felt across the entire biosphere of the globe – having not yet quenched my thirst for creating black series and white series (“monochrome,” as opposed to “black and white”) of works.

Like many people, my life became simpler, my quotidian routine tracing a straight line between the two points of my home and my studio. In a sense, it was like self-quarantine, keeping a line between myself and the outside world (and that once brilliant sunshine)! And each viral variant was like invisible dust particles, floating outside the studio, their power tangibly perceptible in spite of their invisibility.

This murky, ineffable situation guided by a sort of massive power somehow provided a space of subtle clarity for self-examination. I sensed that what attracted me to the black color series was actually the process and outcome of manipulating that thin picture: from picture through the process of image-making, then the murky, difficult-to-discern state of being that black picture resulting from image processing presents visually – especially when photographing (making an image). Even if the slightest modicum of provocation emerges within, it was not conceived in advance. Similarly, the misty layers over the white color series were not deliberately painted, but rather were produced by the clashes between the nearly completely white blocks and outlines.

This also opened up another observation; namely, that the main thing about making art for me is discovery, not creation. Creation is artificial, and anything man-made is limited, while discovery is infinite. And is establishing our own “painting language genealogy,” as we so often bandied about before, just a general term for hints of all creative efforts?

Upon looking squarely at that ineffable, chaotic, murky, yet clearly existent observation and consciousness, beyond the shining sun I noticed where the “umbra” lies. And this is the origin of my new series of works, Dust Series – Umbra.

The entire Umbra series consists of grayscale hues. At first glance, the pictures appear indeterminate, like objects in a dark room, tempting one to want to get up and turn on a light. It feels like it has the indistinct darkness of the night and the misty effect of the day, both at the same time.

Moving under the shining sun, “umbra” represents an interface that moves along with the sunlight. It may represent the desire for cool relaxation, while it also evokes darkness, mystery, and fright. And the transition in that moment, departing the sunshine and entering the shade, brings about instantaneous physical and perceptual changes. In my creative perception, what the Umbra series touches upon is simply those perceptual changes that take place within the first five seconds of entering a shaded area.

The earliest title for this 2022 solo exhibition to emerge was 4’33”, in one sense out of respect for master composer John Cage (1912-92), while in another respect this work outlined the boundless imagination of the unlimited sound produced in a fleeting frozen moment – how extraordinarily powerful! This can be said to be connected with the bottom perspective of my work Bottom and Completion; and naturally, it can resonate with those five seconds of the Umbra series, except that I refuse to take part in anything outside of my creative work.

Several Bottom and Completion series works are included in this solo exhibition. The underlying work for one of these large paintings was begun around 2007, yet went incomplete. That is, until the midst of the COVID pandemic in 2020, when I took it out and resumed work, and finally finished for real in 2021 after a full year of effort. How many decades does one have in life? And how should we approach all sorts of 4’33” or one after another five-second entry and exit choices and experiences?

09粉塵-COVID-19-白1Dust-COVID-19-White-1_油彩、畫布Oil-on-Canvas_97x163-cm_2020.jpg