Microsoft Paint
Fang Wei-Wen, Tsai Tsung-Yu Dual Exhibition
小畫家:方偉文 蔡宗祐 雙人展
策展人|許遠達 2024.06.22 - 2024.07.20 |
開幕 Opening | 2024.06.22 (六) Sat.
座談 Artist Talk | 2024.06.22 (六) Sat. 3 pm 與談人 Panelist | 許遠達 策展人 |
展覽簡介
文/許遠達 (策展人) 01組成了世界,網路、AI的時代降臨,演算構成、複製及創造逐漸扁平,迅速的圖象爆炸,感受物質媒介的身體感逐漸的稀微。形式與媒材尚未成為自己,哲思與歷史、文化議題已然洶湧淹沒。小畫家位處媒材、身體與數位的交接薄膜之所。退回小畫家的螢幕,在媒材物質的世界裡,繪畫能有的面貌可以如何塗抹?在形式的百轉千迴,純粹與五色間,是否仍能有縫隙?圖像符號,是否仍從容在01演算外走跳?在哲思與歷史、文化議題的飽滿知性探討中,是否能探詢形式與媒材的纖維。 蔡宗祐,不斷地回應著繪畫的歷史,像針一般地戳著巨大繪畫的過往,一針針地戳出空間,撐開自我視覺與想像領域。他說:「繪畫本身有它的特性,只要他把自己的特性發揮好就會有自己的區塊。」藝術的知識外,總覺得繪畫還有什麼。如果能從不同的地方發出聲音,就能在繪畫擴展屬於他自己的地方。「有一點不完美但又有一點完美」就是蔡宗祐移動腳步的聲音。「畫面中可接受的不完美,就成了他的完美」,於是,自我的藝術樣貌在繪畫裡成形。他一直意識到「體制」這件事,「體制總是將各種事物規定成它應該要怎樣的存在!甚至是藝術要表現的手法、要談論的議題」。水可以是怎樣形式的水?車可以是怎樣形式的車?森林可以是怎樣形式的森林?色彩可以是怎樣形式的色彩?題材可以是如何的題材?美感可以是如何的美感?對他來說,舉步前沒有一定的方向,不完美的完美決定每一步也畫出軌跡。 手工、身體感與物質可能性的愉悅旅行,適合說明方偉文的繪畫。他的繪畫是悠游的,沒有特別地想要跟別人不一樣,他緩緩說道:「繪畫是一種探索,作品會帶著我去那個地方。我可能開始一個東西,之後,作品就開始介入了。一開始或許是我的意象,接下來有些東西會成形, 而這些東西會帶領我,是一種過程與延伸。 會帶我走走走,有時會停在那裏。我只是一個開始而已。」創作的趣味或是突破,對他而言就像是「意外地,忽然你到了你不知道要去的無人的地方」手工,就是方偉文只能自己實踐的旅程。是身體感的持續與材料的物質性接觸,在拼貼與現成物的縫隙間探索。在身體不斷退縮的數位時代,手的部分是方偉文可信度的來源。他認為:「繪畫手工的部分,是最本質,是還可以很原始很固執聯繫身體的,材料單純又可以複雜。」圖像探索不是西方透視學的那一套理性圖像製作方法,而是像許多古老文化的繪畫觀那樣,方偉文在物質與手工間的宇宙旅行。 。。。。。。。 About Exhibition By Hsu Yuan-Ta The era in which the world, the internet and AI is comprised of zeroes and ones is already upon us, with computer calculations, duplication and creation gradually extending and flattening the availability of images, so much so that the physical sensation of material media is increasingly rare. Form and media are no longer themselves, while philosophical, historical and cultural issues have been swamped. Microsoft Paint is positioned firmly in this movements where media, physicality and digital alter. If we return to the screen of Microsoft Paint, the question is how within the medium and material world to best render and approach the possible of painting? When we look at the many twists and turns in form, the fill up of colors in space, are there still gaps for images and symbols to possibly casually move beyond the calculations of zeroes and ones? In the conversations on issues of philosophy, history and culture can we explore the threads and tips of this make up form and media? Tsai Tsung-Yu has repeatedly responded to the history of painting, like a needle penetrating the expansive past of painting, one needle after another piercing the space, while also opening up the fields of self-vision and imagination. He says “Painting has its own inherent characteristics and as long as it gives voice to its own character, it owns a scope.” He asks what lays there other than the intellectual sense of art. If it can speak from different places, there is possible for painting can expand itself. “It is not exactly perfect but also a little perfect” Tsai exclaims, and “When the imperfection in the painting is accepted, it becomes his perfection”, which is exactly how his art takes shape in painting. In addition, he has consistently been aware of the existence of a “system”. He once said “The system always takes various things and imposes regulations about how they should exist! Even the methods by which art can be expressed and the art issues to be discussed.” What kind of form can water take? A car can be what form of vehicle? A forest can be what kind of forest? What kind of form must colors take? What themes are allowed? What kind of aesthetics can be aesthetics? For Tsai when he sets out on a journey there is no fixed direction, the perfection of imperfection decides each step and the trajectory of the painting. The joyful journey of working with one’s hands, physical sensation and material possibilities can be used to explain the paintings of Fang Wei-wen. His painting is leisurely and carefree, with no particular desire to be different to other artists, he languidly says “Painting is an exploration and the work takes me to those places. I might start something but later the work asserts itself. In the beginning perhaps these are my images but thereafter certain things take shape and these then lead me, as part of a process or extension. They take me on a journey and sometimes I stop there. I am just the start of the process.” The appeal of creating can involve breakthroughs but for him it is like “surprisingly, suddenly going to a place you didn’t know you were going, where there is no one else”. To work with his hands, as part of a journey on which only Fang can embark. This is the continuation of a physical sensation and being in contact with the material nature of a medium, an exploration of the space between collage and found items. In the digital age when the body is in continual retreat, the artist’s hands are source Fang Wei-wen trusts. He believes: “The hands-on part of painting is the most essential, and this can be primitively and stubbornly connected to the body, whether the material simple or complex.” Moreover, this image exploration is not based on the rational image production methodology of the Western perspective approach, but is more akin to the paintings in ancient cultures, and this is the cosmic journey on which Fang sets out between material and manually creating art. |