非池中藝術網

非池中藝術網

大雋藝術 Rich Art:【夜裡的許願池】呂英菖個展

夜裡的許願池-呂英菖
FONTANA DI TREVI DI NOTTE - LU YING - CHANG

文/Gin Huang 黃瀞誼

「許願池」似乎自古就包含著世間的雙面意念,或許願、或洗罪;日耳曼人用硬幣召喚神靈,認為池水有神祕力量,由神靈守護,世人投入有價之物,祈求祝福、洗滌罪惡。然而,呂英菖所擁有的許願池,卻是乘載著靈魂深處的渴望,藝術家的中心信仰。

一如黑夜裡的許願池映照,或華麗絢爛、繁星點點,或清麗寂靜、獨留一輪皓月。乍看是充滿童趣的繽紛燦爛,但細細品味作品的語彙,即察覺其中各式各樣的衝突符號與神秘隱晦;藏身池塘中的黑色彩虹,引領的是手中的獵刀,雖名為「孩子」,卻是藝術家的自我表象,叨絮著深處不為人知的黑暗,躍然於畫布上。呂英菖分享著作品中別有用心的符號,每個圖騰、物件都有所代表,玫瑰、日月是他許多作品中的共同彰顯,代表著思念的人,也許是情感依賴,施以油彩揉合其中。畫作中許多動物、角色都是家人的化身,有時鳥是太太、有時牛是父親....,欣賞他的作品不如說是在閱讀他的家族情感、人生珍寶、中心思想。

米蘭・昆德拉(Milan Kundera)-「如果永恆輪迴是最沉重的負擔,那麼我們的生活,在這一背景下,卻可在其整個的燦爛輕盈之中得以展現。」

有時,越深入呂英菖的創作世界,越讓我聯想到夢遊仙境中,那變形的愛莉絲告訴毛毛蟲:「如你所見,我已經不是原來的自己了。」,毛毛蟲卻反問:「你是誰?你滿意現在的大小嗎?」或許,我們都需要勇氣去突破迷惘,猶如跳入一股強勁的水流中,讓這力量推動往前,讓許願池帶著自己到達最初夢想也到不了的地方。

當所有人都在一昧追求著高處⋯⋯呂英菖的作品卻著實抓住了我的眼,藝術市場鼓譟的激情過後,也許不過是一個吐吶朝夕的凡人,默然看待群情激奮,但他點起的卻是反芻人生的雙面戰役,經歷烽火過後淬煉完熟。



FONTANA DI TREVI DI NOTTE - LU YING - CHANG

Text/Gin Huang

Since ancient times, “Wishing Fountain” seems to connote meanings in two sides, either for wishes or for purification. Germanic people utilize coins to summon deities, believing that water in fountain is endowed with mystic power governed by divinities. Through tossing in valuable substances, people pray for blessings and cleanse their sins. However, that wishing fountain possessed by Lu Ying-Chang carries yearnings at the deepest of our souls, as well as core beliefs in the heart of artists.

As reflections on wishing fountain mirror, dark night could be lightened up with shiny brilliance of stars, or it could be elegant in tranquility leaving only the glows of moon. At first glance, it is full of childlike splendor and exuberance; yet, upon savoring artworks in greater details, semiotics in all kinds of conflicts and enigmatic myth could be discerned. Though named as “Child,” black-and-white rainbow hidden in the pond along with hunting knife grabbed in the hand manifest the expression of artist himself. Mutter of unknown gloom appear vividly on the canvas. Lu Ying-Chang presents those significant symbols in his arts wholeheartedly, indicating that every totem and object epitomizes something else. Rose, sun, and moon recur in his many pieces, representing the ones he misses. Perhaps, with the attachment of relationships he cherishes, oil is applied gracefully in the paintings. Many animals and characters are the incarnations of his family members. Sometimes, bird refers to his wife; while other times, cattle suggests his father. Rather than appreciating his works, it is much more like reading affections among his kindred, treasures of his life, and central values of his own.

“If the eternal return is the heaviest of burdens, then our lives can stand out against it in all their splendid lightness.” (Milan Kundera)

At times, as I explore further into the creative world of Lu Ying-Chang, the more I associate it with Alice’s Adventures in Wonderland. When transformed Alice tells caterpillar, “I am not myself, you see,” caterpillar instead asks, “Who are you? What size do you want to be?” Once in a while, we all need the courage to breakthrough quandaries. As if plunging into a forceful stream, just let this strength drive you forward; let the wishing fountain take you to the state surpassing your dreams.

While everyone is keen about climbing on higher ladder, Lu Ying-Chang’s works truthfully catch my eyes. After heated clamour grows weary in art market, perchance, he is but a normal person lighting up a cigar, silently witnessing passionate crowds. Yet, what he ignites is the double-sided battles of life after contemplation, the maturity and transcendence in the aftermath of firestorm.