15.11.12

現在幾點了?


Gan Chin Lee
'What’s the Time Now?' 

 2012 / Oil on plywood / 21 x 29.7cm 

新認識的朋友G說,看你這幅畫讓我想起梵高(Vincent Van Gogh)時代的畫來,讓我大感困窘,只好自圓其說:嗯,那個時代畫家的畫,我的確看得很多。這是一幅為名叫“Transit A4” 為主題的展覽而畫的作品。展覽開幕時,我在這幅畫前告訴穆斯林女畫友A說,我將用一段時間慢慢地畫一系列的情色畫,她竟雀躍地說十分期待!這種鼓勵,竟使我霎那間也雀躍起來!

但其實這幅畫表現的並不那麼情色,而是表現一種早晨時挺溫馨的fu。

然而靈感來自這首歌。



至於聯展詳情,請看這邊




3.11.12

臺北热炒


Galleria H. at Art Toronto 2012
Dario at Art Toronto 2012










‘我過去幾年的實踐都著重在分解完整的圖像成碎片以後,再以組合、並置的手法來再現第一觀看經驗,目的是為了強調主體的觀看活動,強化眼睛與對象的關係。於是,在這種連續的敘事裡,增加了時間維度,由彼副到此幅的觀看之間,有種微妙的共生存在,對我來說,它似乎更能寫實地表現在場的視覺經驗。另外,觀看總是有選擇性的,所以我在分解並凝固各個造型的時候,也適當地加減一些畫面元素,使之成為殘像,作為表現觀看經驗的剩餘,表達事件/感情/內容的遺存痕跡,並蘊含某種延伸性。總體而言,這種表達方式在圖像時代蓬勃以來,似乎更加契合現代視覺性的經驗。’

'Chin-Lee Gan's practice in recent years has laid emphasis on decomposing complete images into fragments and then reconstructed first-glance experiences by combining between subj
ective viewers and objects being viewed. Thus, in such a sequential narrative, the time dimension increases and in triptych view from one painting to another, segments of sequence editing and jump cutting subtly coexist. For Gan, this seems to more realistically present on-the-scene visual experiences. On the other hand, viewing is always optional so in decomposing and solidifying all kinds of models, appropriately adding and reducing a certain image elements makes afterimages that represent remnants of viewing experiences to express events, emotions, vestiges and to connote some possibility of extension. Most scenes in the paintings are commonly seen food stalls in the southeast Asia society. In this buffer zone between a hectic day and the way home, Gan captures their enduring sentimental attachment to this period of time and stagnant boredom in life.'





'Taipei Stir Fry臺北热炒' , 2012


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這是五月臺北歸來後的嘔吐物。事後回看過程,我竟有如此耐心一個程序一個程序地幹下來,不禁欽佩起自己來。不知怎地,永遠覺得反复撥弄色稿的階段最美妙,效果也最理想。

閉關幾個月,把全身激情全數指向作品,創作狀態大盛,同時領略不少患得患失的心境——即前一刻欣喜若狂、后一刻就又沮喪不已這樣的心境——不禁對友人說:我如今總算走入那些敬仰的創作者的狀態了。

易怒的馬奈、暴躁的塞尚、到處找人挑釁的卡拉瓦喬、對繪畫以外全無耐心的弗洛伊德,我來也。