林于思 Lin Yusi ╳ 葉仁焜 Yeh Jen-Kun 聯展


展期│2018.06.15 - 07.31 地點│世界畫廊(香港 中環都爹利街11號律敦治中心108號) 開幕│2018.06.15(五) (18:00-20:00) 時間│星期一 至 六 10:00 – 19:00, 星期日及公眾假期休息

世界畫廊 (Galerie du Monde) 隆重呈獻新晉水墨畫家林于思和葉仁焜於世界畫廊的首次展覽,將展出兩位年輕藝術家的 16 幅代表作品。

林于思被認為是當代國畫技術最精湛的年輕藝術家之一。他將傳統筆墨融入當代圖像,把工筆和寫意風格相結合,在拓展技 術語言方面進行了多種實踐,成功論證以傳統繪畫語言重塑當代景觀的可能性。林于思認為人的精神與情感寓於生活體驗之中,一個真正的藝術家必需在生活歷練中挖掘素材,才能為其藝術創作注 入真實感人的力量。林氏在成長過程中偏愛志怪傳奇《聊齋》和《搜神 記》,受這些經典小說的影響深刻,使其創作中流露神怪色彩和滲透奇談怪論的元素。

本次在世界畫廊展出的作品是林于思過去五年內的代表畫作。中國傳統筆墨以全新的方式在林于思的作品中得到承繼,藝術家用其獨特的藝術語言探索個人與大自然的關係,將傳統與當代、自我與時代、理想與現實的隱 秘對話寓於其中。他的作品帶有宋畫的風格,憑藉高低染法構成傳統山水畫的層次感,並以雲霧煙煴的造景使觀者產生處於空靈夢境的感覺。其獨特造景技巧之一是林氏非常懂得運用水墨媒介去表現光的感覺,這是在傳統水墨畫中難以一見的。林于思的作品畫面內容豐富,既帶有傳統水墨肌理的韻味,也巧妙地展現出西方藝術形式的光感與空間感。

葉仁焜的作品融合了傳統水墨和東洋膠彩畫的技法特質來描繪城市的空景,探索個人與城市的關係,挖掘自身與生活空間的情感記憶,闡述大都會給他的疏離和寂寥感。2008 年起,葉仁焜開始描繪日常生活隨處可見的建築物,刻意用廢墟和水泥的質感呈現,突顯空無一人的場景,似乎容納了所有城市人的孤獨。站在葉仁焜的視角,觀者看到的大都市是一個「非家」 城市和「失落空間」,即無人聞問或無規劃的棄置空間及一種無人的城市風景,孤寂疏離感強烈,卻喚起陌生又熟悉的感覺。 葉氏藉由畫中事物的構圖及空間錯置的超現實狀態塑造詩意,散發出夢境般的迷離氣氛。

葉仁焜的繪畫技巧形式從不單一,他把彩墨用在絹布、畫布和宣紙的複合媒材上,以塗薄的筆刷方式讓彩墨在其畫面上呈現 猶如油畫般的光亮肌理質感。葉氏是在台灣研究膠彩畫的藝術家中的佼佼者之一。於是次展覽的作品當中,他把水墨、膠彩、 銀箔融合到絹布上,在內容表現和技巧形式上均有突破。雖然葉仁焜在媒材鑽研方面十分出色,但他相信媒材和所有的物質層面都僅是為了成就繪畫本身,藝術家如何擷取各種元素並將其融合,將自身感受到的當代社會氣氛投射於創作中,才是他身為藝術家真正所想呈現的內涵。畫作中強烈銳利的線條,深邃的藍色和無所不在的水泥建築, 成為了屬於葉仁焜極具辨識度的創作元素,把他對城市的種種感受傳達給觀者。

世界畫廊創始人蘇法烈 (Fred Scholle) 表示:「新生代水墨畫家林于思和葉仁焜以一種既尊重傳統且帶顛覆性的新藝術語言來探討當代社會問題,重新激發中國傳統水墨作為藝術表現的吸引力。我們非常高興能與兩位年輕藝術家合作,為香港觀眾 帶來他們的展覽。」

Galerie du Monde is pleased to present a joint exhibition of emerging ink artists Lin Yusi (林于思) and Yeh Jen-Kun (葉仁焜), the first presentation of the two young artists‟ work in Hong Kong.

Lin Yusi is widely regarded as one of the most skillful young Chinese brush painters working today. Lin believes there are two governing principles to Chinese ink painting – expression of the soul and great techniques, and integration of the two creates meaningful and exceptional works of art. He is fascinated with Chinese classical myths and literature such as Strange Tales (聊齋) and the Anecdotes about Spirits and Immortals (搜神記). Lin works predominantly on conceptual fable painting, using a combination of the meticulous „gong bi‟ (工筆) and the freestyle “xie yi” (寫意) techniques to convey the traditional untraditionally. „Gong bi‟ is a realist technique in Chinese painting that incorporates intricate details and vivid colors to portray narrative scenes, often featuring figures. “Xie yi” is also known as literati painting, which emphasize the artist‟s personal expression over accuracy and details.

The body of work showcased in this exhibition demonstrates Lin‟s diversified expression of ink and his narrative of the relationship between humanity and nature. Lin‟s landscapes carry traces of traditional painting style from the Song dynasty. Painting from the Song period was grounded in the Taoist philosophy that humans are tiny specks in a vast and greater cosmos. Observe the miniscule human and animal figures in comparison to the surrounding landscape, the proportion between the character and scenery in Lin‟s paintings depicts the traditional Chinese view of mankind as small and insignificant in relation to the natural world, and the existential perspective of loneliness. Lin‟s use of monotone ink, fine and freehand brushstrokes creates an ethereal and dream-like tone in his works, and he is skilled at capturing the light and negative space to create a strong composition.

In contrast to Lin Yusi‟s exploration of humanity and nature, Yeh Jen-Kun delves into the relationship between humanity and the urban city, a man-made world. People often associate a metropolis with tall buildings, mass transit and busy sidewalks but Yeh depicts the city as an uncanny lost space. The „uncanny‟ is a Freudian concept – a psychological experience that locates the strangeness of the familiar, confronting the subject with the unconscious, repressed desire.Since 2008, Yeh began to create a series of landscape paintings that evoke memories of a city based on what lives in his mind through reconstructing and assembling. In the process, Yeh painstakingly excavates pieces of memories that connect self and space. The ruin-like cement structures in Yeh‟s works respond to the desolate spaces that have been neglected in real life. Yeh‟s paintings exude a subtle surrealistic and dream-like ambiance. Yeh does not deliberately refer to any time or space, yet his works retain a sense of familiarity to viewers.

Yeh‟s ways of creating are never bound by conventional techniques. He is one of the leading artists to experiment with Eastern gouache in Taiwan and believes the medium and textures are as important as the strong visual presence that governs his works. In the body of work featured in this exhibition, he has fused techniques of traditional ink and wash paintings with gouache and silver foil, to project the emotions he experiences in this contemporary society. Yeh expresses the feelings of alienation, frigidness and solitude through the concrete-like greys and the deep and dark blues in his paintings. Sharp lines, heavy shades of blue and omnipresent concrete structures are dominating elements that make his works readily recognizable.

“Lin Yusi and Yeh Jen-Kun are part of a new generation of ink artists that address the intellectual and cultural issues of contemporary society through a new pictorial language, exploring the traditional Chinese artistic language with new art forms and mediums. Galerie du Monde is delighted to collaborate with these emerging young artists and host their first exhibition in Hong Kong.” - Fred Scholle, Founder and Chairman of Galerie du Monde


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