"I see ......"
Yang Nai-Jen Solo Exhibition
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楊乃臻 個展
2024.12.21 - 2025.01.24 |
開幕 Opening | 2024.12.21 (六) Sat. 2 pm
座談 Artist Talk | 2025.01.04 (六) Sat. 3 pm 與談人 Panelist | 王聖閎 國立中央大學藝術學研究所助理教授 |
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《I see......》可以解讀為「我看見……(某物)」或「我明白了……」。對我來說，它有兩層意涵。
有人告訴我，他們在我的畫中看到了田野、草地、樹皮的紋理、風的感覺,或者什麼都沒有。這是我第一次向台北的觀眾展示這個新系列的作品，也是他們第一次能親眼，而不是通過螢幕，看到這些畫。我想像當他們終於看到這些作品時，「I see......」會是他們心中浮現的想法。 "I see......" can mean both "I see…… (something)" or "I understand," reflecting two layers of meaning for me. People have told me they see fields, grass, textures of tree bark, or the feeling of wind in my paintings—sometimes, they see nothing at all. This is the first time I’m showing this new body of work to people in Taipei, and their first chance to see it in person, not just through a screen. I imagine "I see......" might be their first thought when they finally experience the works. 。。。。。 展覽介紹
一個輕盈卻又飽含重量的筆觸——關於楊乃臻的 ‘I see……’ 文／Andrew Pierre Hart （藝術家、英國皇家藝術學院及倫敦藝術大學講師） 「羽毛般輕盈，飄動閃爍，溫柔的質感隨風輕拂覆蓋大地。」 乃臻的抽象筆觸輕柔而細膩，靜靜地請求時間——讓畫作展開的時間、讓觀者停留的時間。當你願意花時間進入乃臻的世界，時間與視覺的轉變便悄然發生。就像微風輕撫著被溫暖包裹的身體，或是曬乾的長草在微風中細微擺動，展現出淡雅的色調；這些日記式的視覺呈現，賦予乃臻作品中的時間變化與互動一種安靜卻強烈的存在感。 這是對於當代繪畫中快速、飽和色調的視覺偏好的一種反向提議。這個手勢中「時間」的轉變——花時間與繪畫相處，花時間去觀看，花時間去交流——展開與揭露了那些曾經只是畫布上的一些色彩的東西。現在它為觀者呈現出了可以輕柔地進入、發現並探索的多重世界；這些世界始終對他們敞開，但唯有花時間進入，才能真正體會。 這些作品由繪畫的過程驅動，探索那個時間與空間中的存在——這是一種詩意的傾聽，藝術家與材料之間的呼應、材料與過程的不斷對話。 這種對話通過繪畫的時間、空間持續進行，最終呈現出抽象的窗口或輕微脈動的風景。藝術家在繪畫的過程中探尋和回訪記憶的閃爍片段。 她說道：「我試圖將繪畫的『幕後』融入作品。透過不同層次的兔皮膠來影響上層顏料的顏色，這讓打底的膠變成了繪畫的一部分。」當底材變成畫材——一切皆是顏料，一切都是繪畫。透過她的探索與實驗，無論是兔皮膠還是打底劑，不僅成了畫作的一部分，也帶來色調上的微妙變化。作為基底的表面，成為了繪畫的表面。 ‘Glue Study on Muslin (Moonlight)’ 是一幅小巧的畫作，其中閃爍的水面讓人聯想到莫內和透納。這幅畫是對於作品的創作過程、製作方法，以及描述的完美融合——是一幅關於繪畫本身、環繞著四周且充滿互動性與包容性的作品。它從自身出發並向外延展——自然創造著自然。畫布、兔膠、木頭、顏料，都是自然界的材料，是我們所身處世界的一部分。這幅以過程為導向的畫作，其標題迎領觀者思考這些媒介如何共同作用，並感受月光的到來。在此，作為繪畫的一部分，光本身即是顏料。 在乃臻如此私密卻又敞開的作品背後，有著音樂對其繪畫的影響。她表示：「我試著找到與作品的情緒或氛圍相符的音樂。」這些作品的表面之下，蘊藏著更多的內容——捕捉住的片刻，歌曲中凝聚的情感。整個展覽像是一份播放清單，每幅畫都是一首歌。與乃臻的筆觸節奏一致，和音樂的相遇也隨之展開：一首歌不斷重複播放，一個筆劃像輕刷鑼片的聲音般反覆出現。有時，我們會陷入一種節奏當中，因為這是唯一能夠與畫作的色調、氛圍和情感相契合的音樂。在每幅畫和每首歌曲中，都講述著一個故事——但並非每個細節都被具體敘述，這些畫作更像是在表達一種情感、一個瞬間的體悟，是作品整體敘事的片段。創作時的感受同樣是藝術家向觀眾開啟的更廣泛對話與交流的一部分。 最後，更深入探索這些作品，我們回到了傳統水墨中的「皴法」——這是一種強調重複和精準的東方技法。在純粹的精神狀態中，每一筆輕柔的筆觸都帶有恰到好處的力度與技巧，在作品中形成了一種韻律。這是乃臻技術背景的一部分，她在東方與西方藝術之間進行思考，並反思兩者與當代藝術的關係，而這些思考都與抽象繪畫的經典傳統緊密相連。 A light gesture that carries so much weight—notes on Nai-jen Yang’s ‘I see……’ by Andrew Pierre Hart (Artist/Lecturer) ‘Feather-light, fluttering and flickering, gentle textures cover the ground as they sway in the wind.’ Nai-Jen’s delicate gestural abstractions quietly ask for time—time to unfold, time for the viewer. A temporal and optical shift occurs when one allows time to enter into Nai-Jen‘s world.The feeling of a gentle breeze against a warmly wrapped body, or the subtle shifts in blades of sun-dried long grass offering soft tones as the breeze activates them, are diaristic approaches that give these fluctuating temporal shifts and engagements in the artist's work such a quietly bold presence. This is a counteroffer to the fast, visual nature of the saturated palettes in contemporary painting. The temporal shift in this gesture—to take time with painting, take time with looking, and take time with the exchange—becomes an unfolding and revealing of what was once a palette of colors on a canvas. It now reveals multiple worlds for the viewer to gently enter, discover, and explore. They were always invited, but they needed to take their time as they entered the paintings. Nai-Jen’s paintings begin to reveal something about contemporary painting and viewing. The artist is driven by the process of painting and what exists in that space and time—a poetic listening, a call-and-response between the artist and material, material and process, constantly in dialogue with one another, constantly listening through the temporal space of painting and what the space of the process becomes: windows of abstraction or gently pulsating landscapes. Exploring and traveling, visiting moments and flashes of memory through the making process of her paintings. Nai-Jen states, “I try to include the ‘behind the scenes’ in my works. By applying different layers of rabbit skin glue to affect the color of the paint on top, the glue for priming becomes the glue for painting.”The substrate becomes material, becomes part of the painted matter—everything is paint, all is painting. Through her explorations and experiments, the ground, whether rabbit skin glue or gesso, becomes paint itself. This offers a nuance in tone and acts as a register of painting material, and this is it—the surface of the substrate becomes the surface of the painting. ‘Glue Study on Muslin (Moonlight)’—a small painting with a shimmer of light across the water, Monet and Turner spring to mind—is the perfected concoction of process, of making and describing the work. Painting about painting. A 360-degree, all-encompassing, and engaging artwork that builds from and out of itself—nature making nature. To stretch , to prime and to paint, something begins to happen. Canvas, rabbit skin glue, wood, paint, these are all natural ingredients, all part of the natural world we exist in. Glue study, a process-driven painting, the title welcomes you to consider the mediums at play and the arrival of the moonlight. Light is as much paint as paint is paint. Behind the scenes of this private and yet very generous invitation into Nai-Jen’s world are the musical influences on the paintings. The artist sets the tone: “I try to find music that suits the mood or the vibe of the painting.”What lies beneath the surface of these works offers so much more—captured moments, the locked-in emotion of a song. The entire show offers a playlist, and each painting is a song. In the same rhythm as Nai-Jen’s mark-making, a musical encounter happens: a song on repeat, a mark repeated like the gentle sound of the brush on a cymbal. At times, we are locked into the groove, where one song plays on repeat because it’s the only tone, atmosphere, and feeling that the painting can exist in. In each painting and song , a story is being told—yet not everything is a story, the paintings offer an expression of a feeling, a momentary glance, like vignettes inside and outside of a narrative existing in the oeuvre. How it feels when making the painting, is as much part of the wider dialogue and conversation being offered to the audience by the artist. And further behind the scenes, we return to the early study of Tsun—an Eastern traditional ink painting style where technique is repeated and perfected. A rhythm ensues as the work is made, through each subtle brushstroke which is applied with perfect weight and technique while coming from a pure place of thought. This is part of the technical background of the artist, who reflects on Eastern as well as Western art and the contemporary within the two, all in relation to the canon of abstraction. |