Monologue of the Brave - Wang Ting-Yu Solo Exhibition
勇者的獨白－王挺宇個展
2011/06/04~2011/07/17
勇者的獨白－王挺宇個展
2011/06/04~2011/07/17
Text/ Wang Ting-Yu
Continued with the monochrome style, Monologue of the Brave, through "repainting" the images, conducts an interesting exercise in the form of painting. The search for existing/conscious imagery for representations of visual and other senses has become a basic manifestation to all art creators of visual and other senses, while the purpose of which is an attempt to arouse sympathetic responses from viewers with similar experience (with certain images, still). To creators, in fact, the transition from conscious imagery to the outside appearance exhibited in artistic material seems to be a mystery without clues; pretty much similar to a sand dune under constant blowing wind with no one being able to predict what it will look like the next second.
No matter whether the final manifestation is to be abstract or concrete, in what appearance will the images and symbols in one's memory be transformed? No one is conscious of the posture of oneself during sleep because one's consciousness is moving along in a parallel line. In frottage, a method of art creation developed by surrealistic painter Max Ernst to explore the subconscious, the artist makes rubbing over a textured surface and then creates various strange-looking images out of imagination based on the patterns of graining captured earlier. In short, it is an imaginative form of visual effect evolved from special textures of certain objects.
My works in this exhibition are based on an attempt at a quasi- frottage method. I repainted the images (the subjects) in front of me, polished them with rubbing technique, and then depicted them by brushing, marking and staining techniques focused on the polished graining. Through such surface treatment, a self-examination is performed on the way that images are viewed with an aim to analyze physicality of paintings versus flatness of images. However, results turned out to be the loss of meaning of images which could not be retrieved even through painting, leaving us nothing but a long sigh.
文/王挺宇
《勇者的獨白》系列，延續一貫的單色繪畫創作，以影像之「重繪」來進行趣味性的繪畫形式操演。對任何一個視覺/其他感官藝術創作者來說，尋找現成/意識中的視覺圖像，來進行視覺或其他感官的言說，便是一種最根本的表達方式，其目的也是試圖召喚觀者所具備的相同經驗(仍是某種影像)。事實上，對於創作者來說，從意識中的影像到藝術物質上所呈現出來的外貌，其中的輾轉變異似乎是個難解的謎，如同風吹過的沙丘一樣，我們難以預測下一秒的形狀會是如何。
記憶中的圖像、符號，無論最終是以抽象或具象的形式來顯現，它的意義究竟會以何種姿態來轉變呢？就像是正在睡覺的人他無法及時察覺自身翻身的姿勢，畢竟他的意識正在另一個平行線中運行。超現實主義畫家Max Ernst對於探討自身潛意識的運作，使用了一種拓印法(Frottage)的方式，藉由拓印物件的紋理表面，以想像的方式來創造奇幻乖誕的圖像。簡而言之，那是借由物件粗糙的突起，所發展出了另一種兼富想像的視覺形式。
在我這次的作品中試圖以一種「類拓印法」的方式為核心。將所面對的影像(對象物)重新繪製，然後藉由打磨技法將之磨平，接著在那剩下的「痕漬」上以一種筆刷的、水痕、污漬般的技法再加以描寫物象。透過如此的表面處裡技術，進而對影像觀看的問題提出反省；以繪畫所具備的身體性對應影像的扁平性來進行某種辨證。然而，結果便是影像意義的喪失，即使透過繪畫仍舊無法尋回，留下的只是有徒然的唏噓。
Continued with the monochrome style, Monologue of the Brave, through "repainting" the images, conducts an interesting exercise in the form of painting. The search for existing/conscious imagery for representations of visual and other senses has become a basic manifestation to all art creators of visual and other senses, while the purpose of which is an attempt to arouse sympathetic responses from viewers with similar experience (with certain images, still). To creators, in fact, the transition from conscious imagery to the outside appearance exhibited in artistic material seems to be a mystery without clues; pretty much similar to a sand dune under constant blowing wind with no one being able to predict what it will look like the next second.
No matter whether the final manifestation is to be abstract or concrete, in what appearance will the images and symbols in one's memory be transformed? No one is conscious of the posture of oneself during sleep because one's consciousness is moving along in a parallel line. In frottage, a method of art creation developed by surrealistic painter Max Ernst to explore the subconscious, the artist makes rubbing over a textured surface and then creates various strange-looking images out of imagination based on the patterns of graining captured earlier. In short, it is an imaginative form of visual effect evolved from special textures of certain objects.
My works in this exhibition are based on an attempt at a quasi- frottage method. I repainted the images (the subjects) in front of me, polished them with rubbing technique, and then depicted them by brushing, marking and staining techniques focused on the polished graining. Through such surface treatment, a self-examination is performed on the way that images are viewed with an aim to analyze physicality of paintings versus flatness of images. However, results turned out to be the loss of meaning of images which could not be retrieved even through painting, leaving us nothing but a long sigh.
文/王挺宇
《勇者的獨白》系列，延續一貫的單色繪畫創作，以影像之「重繪」來進行趣味性的繪畫形式操演。對任何一個視覺/其他感官藝術創作者來說，尋找現成/意識中的視覺圖像，來進行視覺或其他感官的言說，便是一種最根本的表達方式，其目的也是試圖召喚觀者所具備的相同經驗(仍是某種影像)。事實上，對於創作者來說，從意識中的影像到藝術物質上所呈現出來的外貌，其中的輾轉變異似乎是個難解的謎，如同風吹過的沙丘一樣，我們難以預測下一秒的形狀會是如何。
記憶中的圖像、符號，無論最終是以抽象或具象的形式來顯現，它的意義究竟會以何種姿態來轉變呢？就像是正在睡覺的人他無法及時察覺自身翻身的姿勢，畢竟他的意識正在另一個平行線中運行。超現實主義畫家Max Ernst對於探討自身潛意識的運作，使用了一種拓印法(Frottage)的方式，藉由拓印物件的紋理表面，以想像的方式來創造奇幻乖誕的圖像。簡而言之，那是借由物件粗糙的突起，所發展出了另一種兼富想像的視覺形式。
在我這次的作品中試圖以一種「類拓印法」的方式為核心。將所面對的影像(對象物)重新繪製，然後藉由打磨技法將之磨平，接著在那剩下的「痕漬」上以一種筆刷的、水痕、污漬般的技法再加以描寫物象。透過如此的表面處裡技術，進而對影像觀看的問題提出反省；以繪畫所具備的身體性對應影像的扁平性來進行某種辨證。然而，結果便是影像意義的喪失，即使透過繪畫仍舊無法尋回，留下的只是有徒然的唏噓。