03/11/2012 - 06/ 01/2013
AFA
Beijing, 798 Art Zone____798藝術區北京全藝社展覽廳
Beijing,
Mainland China____中國北京
Artist’s Statement
This
exhibition features two series of artworks related to the concept of
“painting”. As an art media and act of creation, it is also a noun or a verb.
The ground
floor exhibits part of the works from the series titled ‘Painting is painting
is painting is painting is…?’ Rooted in the reflections of painting, this
series delves deeply into the definitions of art and media. Without using the
brush and colour, it employs the canvas - originally the image carrier - as the
major material to create pictures. The marks made by movements and actions (for
example, incising, unweaving, pasting and overlapping etc.) on the canvas are
the components of images. Also, creation is not confined to the front of a
“painting”; the back of the painting and canvas are equally important.
Similarly, painting is no longer confined to a plane surface; the three
dimensions and depth of an image are no more an illusion, but substantially
occupy the available space. The white image places the work in a state of
ambiguity – whether it is a completed painting or a carrier awaiting the adding
of lines, forms, and colours. Moreover, the white painting suggests that the
work has extended from the scope of the frame to the white space of the
exhibition venue, making it part of the work. This concept is further
strengthened by the employment of white canvas to “draw” the architectural
structures of the venue. It is needless to use the expressions of perspective
and chiaroscuro to reconstruct shape and distance. A “real space”painting was
created, enabling the audience to enter the work in person. It seeks to obscure
the definition and boundary of artistic creation – painting is a painting, a sculpture,
an installation and also an exhibition venue, which all are the art media
carrying concepts.
The second
floor shows another series of works, conveying the concept of ‘painting the
real space’ from static media to moving images, from indoor area to city space
in a combination of time element. The series ‘Painting is painting is painting
is painting is…?’ focuses on various physical structures -- the plane surface
of the canvas, frames and shapes of installations and architecture. The video
works titled ‘Drawing the urban space’ on the second floor started with the
‘negative space’ beyond the substantial entity of the city.
An
impression of a city is largely related to its physicality -- the shapes and
structures of architectures, landmarks, or roads as they are tangible, visible
and touchable. In terms of the realms which are not occupied by substantial
entities but with air flowing around, these are void spaces filled with
untouchable nihility (just as the scenes shown in the video) and easily neglected
by people. However, while we are living and engaging in activities in these
spaces, bit by bit, day by day, we have left a countless number of breaths and
intangible traces. Though it is so transient, they are the living and truest
records of life. This work attempts to use the dynamic ‘brushworks’ – the
moving trajectory of human beings and vehicles – to expose the intangible
‘negative space’, thereby exploring the relationship between the city
environment and ourselves from another perspective. While city development has
created numerous large and tall edifices, should we contemplate the price our
original “space” has paid for this?
Bianca Lei Sio Chong,
2012
藝術家的話
是次展出的兩組作品都是關於「繪畫」的概念，是藝術媒體的「繪畫」也是創作行為的「繪畫」，是名詞也是動詞。
地下展示《畫是畫是畫是畫是…? 》系列中的一部分作品。開始於對繪畫創作的反思，進而深究藝術媒體之間的界定。作品的畫面不用畫筆和顏色去描繪，並將原是圖像載體的畫布轉為創作的主要材料去製作圖像。對畫布進行各種的動作和行為（如切割、拆解、黏貼或重疊等）所留下的痕跡作為構成圖像的元素。創作不只限於「畫」的前面，背面和畫布的後面同樣重要。繪畫也不再只限於平面，畫面的立體和深度不再是幻景，而且是真實地佔據空間。白色的畫面將作品置於一種曖昧的狀態──是已完成的圖像或是等待畫上線條、形狀和顏色的載體。再者，白色繪畫還暗示著作品已由畫框範圍延伸到展場的白色空間，使之成為作品的一部分。這個概念再由白色畫布被運用去「描繪」展場內建築的結構而深化，不需要明暗和透視的表現方式去重現其形態和距離，創造一件「真實空間」的繪畫，容許觀眾親身進入到作品當中。作品模糊了藝術創作的定義和界線──畫是畫，是雕塑，是裝置，也是展場，都是作為承載理念的媒介。
另一組在二樓展出的作品將「繪畫真實的空間」這個概念由靜止媒體延伸至動態影像，空間由室內轉到城市，同時再結合時間元素。《畫是畫是畫是畫是…？》系列聚焦於畫布的平面、畫框、裝置和建築物的形狀等實體的結構。而二樓的錄像作品《描繪城市空間》就由城市中物質實體之外的「負空間」作為切入點。
對城市的印象，大都是那些建築物、地標或道路的外型和結構等實體，因為那些都是可見和可捉摸的。而不被物質實體佔據又有空氣流動的範圍，是空空如也的地方，那是抓不著的虛無（如同錄像所呈現的一切景物），所以容易被人忽視。然而，我們在當中活動和生活，一點一點，一日復一日在這些空間存留下了不能計量的氣息和無形的痕跡，雖然頃刻即逝，但那是生命中活生生和最真實的記錄。作品嘗試運用城市中的動態「筆觸」──人和車輛的移動軌跡──將一個看不見的「負空間」顯影出來，藉以從另一角度探究城市環境和我們的關係。城市發展換來了一座一座又高又大的建築物，與此同時，是否應該思量我們原有的「空間」又付出了什麼的代價呢？
李少莊Bianca Lei Sio Chong
2012
link__連結:
Works__參展作品：
畫是畫是畫是畫是畫是......