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非池中藝術網

2019-09-23|撰文者:藝評家 / 陶文岳

重構抽象 ~ 閱讀曲德義



有「台灣現代繪畫導師」稱謂的李仲生所教出的弟子,各自皆發展出獨特的藝術風格,而其中的曲德義更是屬於精銳中的精銳,因為他既是藝術家也是教育家,曾先後擔任國立台北藝術大學美術學院的教授、主任與院長、電影與新媒體學院院長和關渡美術館館長,在台灣與國際藝術的交流上,是屬於活躍型的靈魂人物。而他從李仲生一對咖咖啡館教學所學的藝術武林秘笈寶典:「畫你沒有畫過的畫,想你沒有想過的問題,打破慣性思考。」更是讓他的繪畫創作獨樹一幟。



台南加力畫廊(INART‧SPACE)舉辦 「並置X位離」個展,展期由2019年9月3日至11月30日。圖/加力畫廊提供



曲德義始終認為「如果繪畫太成熟,技巧太清楚,一般人會不斷的重複自己,但藝術家應該要有打破這些慣性的勇氣。」他本著挑戰與開拓自己視野於1978年留學巴黎,並在1983 年、1984 年先後獲得法國巴黎國立高等設計學院美術設計碩士學位和法國巴黎國立高等美術學院造型美術碩士學位。特別是他就讀於巴黎國立高等設計學院時,受教於旅法華裔著名抽象畫大師趙無極,趙氏曾對曲德義說:「抽象繪畫有分“繪畫性”與“符號性”,你要選擇其一來表現。」但對藝術創作有反骨精神的曲德義反而乾脆融會兩者來創作表現,也形成日後其作品兼具理性與感性的抽象特別風格。



圖左至右:加力畫廊總監杜昭賢、藝術家曲德義。圖/加力畫廊提供



對於藝術創作來說,本來抽象繪畫創作很多是屬於隨機性的表現,曲德義希望經由意識來引導創作的關聯性,將 “偶然”變成“必然”性。他自己也曾思考為什麼會走向抽象繪畫這條道路上,其實跟他的背景很有關聯;曲德義出生於韓國,然後求學在台灣,之後又去法國留學,韓國、台灣、法國三地一直是他不斷遊移居住或學習的地方,無形中產生沒有固定的位置,形成空間錯位現象,最後這些因素皆反映到繪畫上。



曲德義,位離D1907,壓克力、麻布,162x195cm 兩件一組, 2019年。圖/加力畫廊提供



曲德義說:「我一直試圖找尋繪畫的某種可能性,打破畫作尺寸的規格限制。因為正常的繪畫創作抒情抽象與幾何抽象都在現有的尺寸畫布規格中,我會再增加另一張畫布。表面上是依循抽象繪畫的傳統,但另外增加的部分,除了打破既有的形式之外,也融入了個人想法與當代的特質。」



曲德義,並置D1912,壓克力、麻布,162X195cm 三件一組, 2019年。



2019年9月3日~11月30日,曲德義應邀於台南加力畫廊INART‧SPACE舉辦 「並置X位離」個展。這次展出有別於以往的風貌,曲德義覺得東方人對空間、材料跟西方人的表現不一樣,自己雖然使用西方的材料卻試圖創作出不一樣抽象繪畫的感覺,他認為「抽象畫是屬於國際性的繪畫表現,但韓國的單色畫,日本的具體派皆具有其獨特的藝術地位,那麼什麼才是代表台灣的抽象繪畫精神呢?」事實上他一直試圖找尋抽象繪畫發展的可能性,就像他打破畫作尺寸的規格限制,雙拼或三拼,還有抽象繪畫創作的流動性,再將兩張畫加一起,構築起形與色的綜合創作表現,造成錯位感覺,也形成視覺張力。



「我繼續找尋抽象繪畫的未來可能性,雖然繪畫創作時面對這些不穩定、流動性、不可控制的因素,但仍在我控制的範圍,這就是創作的樂趣。」曲德義如是說…….。



曲德義,位離D1811,壓克力、麻布,162x95cm 兩件一組,2018年。圖/加力畫廊提供



Reconstructing the Abstract- Reading Chu Teh-I Text/ Tao Wen-Yueh (Art Critic)



Disciples of Li Chun-shan, who was acclaimed as “the mentor of Taiwan’s modern painting,” have developed individual unique artistic styles. Among which, Chu Teh-I is definitely a figure on top of Li’s outstanding disciples since he is an artist and educator. He has worked as the professor, dean, and director of School of Fine Arts, the director of School of Film and New Media, and the director of Kuan Du Art Museum at Taipei National University of the Arts. He is also an active key figure enhancing the exchange between Taiwan and international art. Li Chun-shan’s one-on-one tutoring and his significant motto, “draw what you never draw before, think about what hasn’t come to your mind. Break your inertial thinking,” enable Chu to develop his unique and exclusive style in painting.



Chu The-i always believes, “if one has fully developed his painting style with specific skills and techniques, he might constantly repeat similar works. However, artists should obtain the courage to break their habits.” With thechallenges and the determination to broaden his horizon, he studied abroad in Paris in 1978, and has accomplished the Diploma of Decorator with the specialization in plastic arts and painting in the École nationale supérieure des Arts Décoratifs and the Superior Diploma of plastic arts in the Ecole Nationale Supérieure Des Beaux-Arts De Paris in Paris, France, respectively in 1983 and 1984. While he was studying in the École Nationale Supérieure des Arts Décoratifs, he was instructed by Zao Wou-ki, the France-based Chinese painter in abstract painting. Zao had once told Chu Teh-i that “abstract paintings include two-fold, the painterly representation and symbolic representation; and you must follow one of them.” However, with the rebellion in mind, Chu tends to integrate the two approaches and thus forms a unique abstract style of both rationality and sensibility in his works.



曲德義,並置D1911,壓克力、麻布,162X195cm 三件一組, 2019年。圖/加力畫廊提供



In terms of artistic practices, abstract paintings should give credit to spontaneous representation. Chu wished to turn the “spontaneity” into the “certainty” with the interconnections made by artists’ consciousness. He once pondered why he took the way of abstract paintings. It has to do with his background: Chu Teh-i was born in Korea and came to Taiwan, and later France, for study. He constantly traveled, lived, or studied among the three countries without a fixed position, which formed a displacement of space for him. These factors eventually are reflected in Chu’s paintings.



Chu claims, “I have been trying to find out certain possibilities of painting to remove the limitation of the frames for canvas paintings. Regular paintings of both lyrical abstraction and geometric abstraction follow existing canvas sizes; however, I would add another canvas. On the surface, I’m still following the traditional abstract paintings. The additional part does not simply break the existing forms but also absorb individual thinking and contemporary qualities.”



曲德義,並置C1904,壓克力、麻布,65X162cm, 2019年。圖/加力畫廊提供



Chu Teh-i is invited to present his solo show “Juxtaposition x Displacement” in INART‧SPACE in Tainan from September 3 to November 30, 2019. This solo shows shed a new light that Chu believes the oriental presentation of space and materials is somewhat different from the Occidental practices. He managed to work on alternative abstract paintings with Western materials. He thinks that “Abstract paintings are an international representation of the painting. Korea’s Dansaekhwa (monochrome painting) and Japan’s Gutai avant-garde art movement are celebrated as significant figures; however, what style can represent the idea of Taiwan’s abstract paintings?” In fact, he has been trying to seek for the possibility for the development of abstract painting as he breaks the limitation of frame sizes for painting with additional canvas. Along with the fluidity of abstract painting creations and the integration of the representation of forms and colors, these factors make the displacement visible and form the visual tension as well.



“I’m still trying to seek for the future possibilities of abstract painting, although these uncertainty, fluidity and uncontrollable factors may take place during the process of creation; however, I can still manage all of them, and this is why creation is with so much fun,” Chu remarks.



台南加力畫廊(INART‧SPACE)舉辦 「並置X位離」個展,展期由2019年9月3日至11月30日。圖/加力畫廊提供



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並置 X 位離 - 曲德義 個展



展期:2019/09/03 (二)- 2019/11/30 (六)



地點:加力畫廊(台南市中西區友愛街315號)


加力畫廊曲德義並置 X 位離重構抽象陶文岳
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