13/04 - 23/06
AFA Beijing, 798 Art District __798藝術區北京全藝社
Beijing ___ 北京
Preface
For Lai Sio Kit, it is extraordinarily
meaningful to host his first solo exhibition in Beijing Macao
Sio
Kit’s works are neither like common landscape painting which focuses on
expressing a deep extensity, nor do they comprise magnificent scenery. Also, he does not adopt a usual eyelevel angle in painting his works. The
technique of nearly vertical overview perspective reduces the scope of field of
depth to a minimum, showing a narrow perspective space. The layer of his works
is not presented by the layout of objects. Instead, it is manifested via the
unique traces and textures of objects, gleaned from sunshine and rainy
immersion over a long period of time. Hence, the visual composition of
these paintings relate not only to space but to time. The content of these
paintings does not project any heavy sorrow, exaggerated passion, popular
bright colours or ironic and invective attitude apropos the discussion of
social issues. Their composition and colour tone are the same as the theme,
which does not have emotional undulations. A kind of art value is re-granted to
ordinary, trivial objects, akin to seeking a life attitude which is worth
cherishing in ordinary life. The quiet atmosphere, like a fresh spring, flows
from one to the other of his paintings.
In
Macao, low-rise building roof terraces
are deemed a private space. In fact, they are completely open to the public,
embracing both private and public humorous characteristics at the same time.
With urban development and safety a priority for new buildings in Macao Macao
Curator
Bianca Lei
前言
能在學習繪畫的北京舉辦首次個人展覽，對黎小傑來說，的確意義非凡。此次展覽的主題是延續他近年最感興趣的空間──天台。這一批作品展現了一位畫家長時間對同一主題進行創作所累積的豐富經驗，我們可以感受到他對所描寫的對象有一種手到拿來的熟練，天台各種類型的物品及其紋理和質料等就像放在一間中藥行百子櫃裡的藥材一樣，而小傑就像一位經驗老到的中醫師，隨意又巧手就能擬定各種神奇的藥方。展場二樓的繪畫是聚焦於天台上各式各樣的物件描繪，一種以側重演繹物件的質地和紋理的表現手法，令這些作品既是風景畫又是靜物畫。而地下的作品就以空間和物件的整體建構為主。其中一組的創作更以散落的展示方式呈現，不只是關於單一空間和單一視點的傳遞，而各畫面的大小同時暗示著某種距離的透視關係，這種安排無疑地擴展了觀看的視野。觀眾像翱翔在半空之間，高高低低地觀賞一大遍澳門特有的城市景觀，展開一次天空之旅。
小傑的作品沒有像一般風景畫所著重表達深遠的空間感，也沒有大山大水的宏偉景色，同時也不以慣有的平視角度去繪畫。近乎垂直的俯看視角的手法將景深的範圍縮減到最少，顯示出一個淺窄的透視空間。作品的層次不是運用眾物件前後佈局去傳遞，而是物件由於陽光和雨水日積月累的洗滌後所留下的獨有痕跡和紋理，因此，畫面的視覺構成不只是關於空間也關於時間。與此同時，繪畫內容並沒有任何沉重的傷痛或者誇張的激情、沒有流行潮流的耀眼色彩、也沒有對當下社會議題的嬉笑怒罵。構圖、色調如同主題一樣，沒有什麼感情的衝擊起伏，將平凡又瑣碎的物件重新賦予一種藝術價值，像是從平凡的生活當中尋找一種值得珍視的人生態度。清泉一般的寧靜氣息流動在畫面當中，由一幅作品到另一幅作品。
在澳門，這些低層樓宇的天台一直都被認定為是私人的空間，但其實又完全暴露於別人的眼前，擁有隱密和公共的有趣性質。但在澳門城市發展和新的樓宇安全政策下，可能有一天，這些私有空間不會再存在。小傑以個人的視點去「借景抒情」，演繹城市某一特定的景觀及其變遷，他的作品不是現實的再現，而是重構澳門本土風景的集體記憶。
策展人
