赤粒艺术：【以纸为尊】杨识宏、杨世芝、梁兆熙、陶文岳、李足新2020-05-28 共971人围观 ，发现26个评论
李足新 LEE Chu-hsin 分列式March-past 2009 碳精、压克力、纸 29x36cm
梁兆熙 LIANG Zhaoxi 兔Rabbits 2016 压克力、木炭、纸本 96x120cm
陶文岳 Tao Wen-Yueh 源之礼讚 The Glory of Ingenuity 2016 複合媒材 纸 110 x 80 cm
杨世芝 Yang Shih-Chih 细读绿山水 To Penertrate a Green Landscape 2013 墨丶矿物颜料、棉纸拼贴于纸板 39x49cm
杨识宏 Chihung Yang 远方的回声 Fading Echo 1993 木炭、铅笔、粉彩、压克力、纸本 76x56cm
日期：2016-05-21 ~ 2016-06-30地点
感谢王嘉骥慨然提供威廉‧透纳的引言，为这次展览定调注解：First of all, respect your paper! Keep your corners quiet. Centre your interest. And always remember that as you can never reach the brilliancy of nature, you need never be afraid to put your brightest light next to your deepest shadow in the centre but not in the corners of your picture.
If the National Gallery and the Tate galleries serve as a database of oil paintings from the 20th century and the modern and contemporary art, then the British Museum is a national treasure house of “works on paper.” Relatively unknown compared to other sought-after sections in this treasure house, the Department of Prints and Drawings boasts a collection of approximately two million prints and 50,000 drawings. Visitors who have made a reservation in advance can “date” their beloved works for at least an hour, savoring Raphael's Sybil or William Turner’s sketchbook to the fullest. Just as described by a keeper from a related department, “It’s all for the fun.”
Yes, it’s all for the fun.
As opposed to putting oil paint to canvas, the method of applying watercolor, ink, pencils, charcoal pencil or charcoal to the paper in the form of mixed media is inherently more direct, or raw. Could the viewer sense in these “works on paper” the directness and rawness with which the painter demonstrates how he views and thinks about the subject? The viewer “reads” the viewing process of the painter, and “thinks” about the thinking process of the painter, thus establishing his own process of “reading and thinking.” What dynamism and excitement would arise from the meeting of two forces–“on the paper” and “outside the paper”? This is the proposition and question we would like to pose.
By composing works on paper with mixed media, Yang Chihung documents the experience of an Eastern living and creating in New York. It embodies “an orderly commotion,” resulting from encounters between impact and blending, obstacle and catalyst, abstract and concrete, as well as traditional and modern.
Yang Shihchih utilizes ink and water as the media, and complicated collage as the approach in creating energetic modern artworks. They are not oil paintings despite their oil painting textures, nor are they landscape ink paintings in spite of an ink-and-water look. While gender or age remains unsaid in her works, you can see the painter’s undaunted fighting spirit....
Liang Zhaoxi depicts landscapes and subjects with charcoal, from the peacock with an aloof stare, the rabbit resting solitarily, the mountain and forests rarely visited, to the locomotive where time stops. Between black and white, they are gentle at first sight, profound at the second, and at the third glance….
Tao Wenyueh keeps track of his daily feelings and emotions in his works. By creating in diverse contexts and the physical world, he seeks poetic reflections from the soul, drawing inspirations from surrounding phenomena.
Lee Chuhsin captures nostalgic imagery in the nature, casting the life experience of the painter into the historical and cultural currents. Natural landscapes are woven into dark reaches of time and space, enveloped in a mysterious atmosphere.
Thanks to Chia Chi Jason Wang’s sharing of William Turner’s words, we may define the exhibition as follows: “First of all, respect your paper! Keep your corners quiet. Centre your interest. And always remember that as you can never reach the brilliancy of nature, you need never be afraid to put your brightest light next to your deepest shadow in the centre but not in the corners of your picture.”
So let’s close with the words of “the painter of light.”