Chen Chien-Jung: Deconstructing and Reconstructing the Abstract World of Reason
陳建榮:解構、再結構的理性抽象世界
文╱ 吳垠慧 Wu Ying-Hui
Glancing at Chen Chien-Jung's abstract paintings, we are first struck by layered and horizontally arranged groups of color, intersecting broken lines, and a general feeling of architectural composition. His paintings are like a designer's sketch still being touched up and revised. The artist constructs a small, unclear world which obviously has absorbed all of his attention, and shares his unfinished, extemporaneous playfulness with his audience.
Chen Chien-Jung was born in 1972. He graduated from the Graduate Institute of Plastic Arts at Tainan National University of the Arts. He was the gold medalist in the drawing category at the Eleventh International Biennial Print and Drawing Exhibition, 2003 R.O.C.. In 2007 he was the winner of the Li Zhongsheng Visual Arts Award.
Starting in college, Chen Chien-Jung developed a special affinity for abstract painting, and so honed his use of line and color. His paintings have a very rational and cool quality. Although his work is categorized as abstract art, if we look at his paintings very closely, some hidden mechanical and architectural painting vocabulary appears. In the beginning, Chen stuck some pictures of architectural elements on the canvas and then covered them with color. Later he started directly outlining the structure of industrial machinery with paint. This can be seen in works such as Landscape 11-12, which depicts the tarmac area of an airport, and Blue Sky xIII, which takes an open window on a wooden box as its subject. The hard and cold splitting lines in his paintings look like architectural steel plate structures, steel frames, wheels or spare mechanical parts. Although these are the only objects that appear, they still call to mind familiar visual experiences for the viewer.
Through deconstruction and reorganization Chen Chien-Jung presents a humanistic style in the machine age. It seems his two-dimensional process contains sculptural elements.
In his paintings, Chen Chien-Jung not only presents cityscapes that are familiar to the modern eye, but also experiences that come from individual interests. Chen Chien-Jung likes to assemble models of robots and then transform them into paintings through a disassembling and reorganizing process. Gray, blue and white are the colors he uses most frequently, and this gives his paintings a disassociated, indistinct and indefinite feeling, but it is the details that make these feelings so concrete and specific. Chen uses his favorite rock music as an example to explain his painting methods, "Rock and roll is really noisy. Sometimes the music even drowns out the lead signer or is chaotic on purpose, but if you listen carefully, the different levels and rhythms of each instrument are there."
乍看陳建榮的抽象畫作,層層疊疊的幾組色塊橫陳,交織著間歇性斷裂的線條,只能約略看出局部有如建築般的結構,宛如還在塗抹、修正中的建築設計草圖。還在建構的小世界猶未明朗,但顯然作畫的人,頗能享受未完成的渾沌、以及如遊戲般的即興趣味。
陳建榮是1972年生,國立台南藝術大學造形藝術研究所畢業,在第十一屆中華民國國際版畫與素描雙年展獲得素描類「金牌獎」,2007年「李仲生視覺藝術獎」得主。
從大學開始,陳建榮就偏好抽象繪畫的表現,也因此練就了對線條和色彩的掌握能力。陳建榮的作品有著理性和冷調的特質,雖然被歸屬於抽象藝術,若仔細觀看,其畫面並非純然是抽象表現,機械、建築式的現代城市語彙,隱然浮現其中。一開始,陳建榮在畫布上貼上建築物照片,再加以色彩覆蓋。之後,他直接在畫面上勾勒出工業器械的結構線條,如〈風景〉這件作品,是對飛機場停機坪的描繪,〈藍天〉表現的是在木箱上開了窗口。那些在畫面上劈出的冷硬線條,有的看起來像建物的鋼板結構,或是鋼架、輪軸等機械零件,雖然只有出現物件的局部,依舊能喚起觀者熟悉的視覺經驗。
透過拆解、重組的過程,陳建榮呈現出屬於機械時代的人文風景,其過程像有如在平面空間中進行「雕塑性」的創作。
陳建榮的作品不僅表現出現代人熟悉的城市景致,也來自他個人的興趣經驗。陳建榮喜歡組裝機器人模型,並且把這個拆解、組裝的過程變成繪畫。灰、藍、白是他最常使用的色彩,這些慣用色也讓他的畫面有著游離、模糊的不確定感,但是每一處細節又是那麼具體明確。陳建榮以他最喜愛的搖滾樂為例,來說明畫面經營的想法,「搖滾樂聽起來很吵,有時還會把主唱的聲音遮蓋、或刻意模糊掉,但仔細聆聽,還是可以聽到樂器不同的節奏和層次。」
Chen Chien-Jung was born in 1972. He graduated from the Graduate Institute of Plastic Arts at Tainan National University of the Arts. He was the gold medalist in the drawing category at the Eleventh International Biennial Print and Drawing Exhibition, 2003 R.O.C.. In 2007 he was the winner of the Li Zhongsheng Visual Arts Award.
Starting in college, Chen Chien-Jung developed a special affinity for abstract painting, and so honed his use of line and color. His paintings have a very rational and cool quality. Although his work is categorized as abstract art, if we look at his paintings very closely, some hidden mechanical and architectural painting vocabulary appears. In the beginning, Chen stuck some pictures of architectural elements on the canvas and then covered them with color. Later he started directly outlining the structure of industrial machinery with paint. This can be seen in works such as Landscape 11-12, which depicts the tarmac area of an airport, and Blue Sky xIII, which takes an open window on a wooden box as its subject. The hard and cold splitting lines in his paintings look like architectural steel plate structures, steel frames, wheels or spare mechanical parts. Although these are the only objects that appear, they still call to mind familiar visual experiences for the viewer.
Through deconstruction and reorganization Chen Chien-Jung presents a humanistic style in the machine age. It seems his two-dimensional process contains sculptural elements.
In his paintings, Chen Chien-Jung not only presents cityscapes that are familiar to the modern eye, but also experiences that come from individual interests. Chen Chien-Jung likes to assemble models of robots and then transform them into paintings through a disassembling and reorganizing process. Gray, blue and white are the colors he uses most frequently, and this gives his paintings a disassociated, indistinct and indefinite feeling, but it is the details that make these feelings so concrete and specific. Chen uses his favorite rock music as an example to explain his painting methods, "Rock and roll is really noisy. Sometimes the music even drowns out the lead signer or is chaotic on purpose, but if you listen carefully, the different levels and rhythms of each instrument are there."
乍看陳建榮的抽象畫作,層層疊疊的幾組色塊橫陳,交織著間歇性斷裂的線條,只能約略看出局部有如建築般的結構,宛如還在塗抹、修正中的建築設計草圖。還在建構的小世界猶未明朗,但顯然作畫的人,頗能享受未完成的渾沌、以及如遊戲般的即興趣味。
陳建榮是1972年生,國立台南藝術大學造形藝術研究所畢業,在第十一屆中華民國國際版畫與素描雙年展獲得素描類「金牌獎」,2007年「李仲生視覺藝術獎」得主。
從大學開始,陳建榮就偏好抽象繪畫的表現,也因此練就了對線條和色彩的掌握能力。陳建榮的作品有著理性和冷調的特質,雖然被歸屬於抽象藝術,若仔細觀看,其畫面並非純然是抽象表現,機械、建築式的現代城市語彙,隱然浮現其中。一開始,陳建榮在畫布上貼上建築物照片,再加以色彩覆蓋。之後,他直接在畫面上勾勒出工業器械的結構線條,如〈風景〉這件作品,是對飛機場停機坪的描繪,〈藍天〉表現的是在木箱上開了窗口。那些在畫面上劈出的冷硬線條,有的看起來像建物的鋼板結構,或是鋼架、輪軸等機械零件,雖然只有出現物件的局部,依舊能喚起觀者熟悉的視覺經驗。
透過拆解、重組的過程,陳建榮呈現出屬於機械時代的人文風景,其過程像有如在平面空間中進行「雕塑性」的創作。
陳建榮的作品不僅表現出現代人熟悉的城市景致,也來自他個人的興趣經驗。陳建榮喜歡組裝機器人模型,並且把這個拆解、組裝的過程變成繪畫。灰、藍、白是他最常使用的色彩,這些慣用色也讓他的畫面有著游離、模糊的不確定感,但是每一處細節又是那麼具體明確。陳建榮以他最喜愛的搖滾樂為例,來說明畫面經營的想法,「搖滾樂聽起來很吵,有時還會把主唱的聲音遮蓋、或刻意模糊掉,但仔細聆聽,還是可以聽到樂器不同的節奏和層次。」