李文謙
Li Wen Tsien
關於
殘留記憶「宇宙洪荒系列」
自2016“樹魂” 及2018“心中景”及之前的“大理人“ 和“區間車”等系列，都是以中國水墨為創作媒材，但自我五十年代師大時期及六十年代巴黎時期至九十年代末的海岩系列，我都是以油彩作為創作媒材。所以這系列回到以西方媒材創作（亞克力彩）也是自然的。至於我一生中的創作題材，除了“大理人”及“台灣區間車”“女性頌”三系明顯地以【人】為主題，“樹魂”和“心中景”都是以樹、木為題材。
這次殘留記憶 - 宇宙洪荒系列則以樹木殘留的碎片為主題，可以說是樹木題材的延伸，而「藝蕴人文」的哲思更是一貫。
百年樹人，人活到百歲不易，但樹，千年以上的神木，台灣也不少。如果樹木有靈，百年千年，看盡人類的紛紛攪攪，愛、恨、戰争、和平，而我撿到的碎木，是否也殘留了有關人類的記憶?
這一系列作品看似抽象，其實不是，除了碎木片上有具象的人體，周圍的造形，其實是宇宙中風雨雷電，日月星辰等等自然景象的符號。
The Residual Memories "Cosmic Prehistoric Series" from 2016 "Tree Soul" and 2018 "Heart Scenery" as well as previous series such as "Dali People" and "Shuttle Bus" all use Chinese ink as the creative medium, but I studied it in the 1950s. I used oil paint as the medium of creation during the major period and the Haiyan series from the Paris period of the 1960s to the late 1990s. So it is natural for this series to return to Western media (acrylic and color). As for the creative themes in my life, except for the three series "Dali People", "Taiwan Shuttle Bus" and "Ode to Women", which obviously take "people" as the theme, "Tree Soul" and "Scenery in the Heart" both use trees as their themes. theme. This time, the Residual Memories - The Prehistoric Universe series takes the remaining fragments of trees as its theme. It can be said to be an extension of the tree theme, and the philosophy of "art embodies humanities" is consistent. It takes a hundred years to cultivate people. It is not easy for a person to live to be a hundred years old, but there are also many sacred trees in Taiwan that are over a thousand years old. If trees have spirits, they can see all the disturbances of human beings, love, hate, war, and peace, for hundreds of years and thousands of years. And do the scraps of wood I picked up also retain memories of human beings? This series of works may seem abstract, but in fact No, except for the concrete human body on the broken wood pieces, the surrounding shapes are actually symbols of natural scenes in the universe such as wind, rain, thunder and lightning, sun, moon, stars, etc.