【剩餘的風景 －李若玫個展】開幕暨座談
展覽日期｜2020 / 7 / 29（三） - 9 / 06（日）
開幕茶會｜2020 / 8 / 1（六）15 : 00
座談活動｜2020 / 8 / 1（六） 15 : 30 -17 : 30
與談人｜許家維

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展覽論述｜

樹會扭曲時間。

　　幾年前一個冬日傍晚，在尋常日景中，我遇見了兩棵椰子樹，兩棵被日光投影在建築體外牆上的大王椰子樹影。四層樓高的樹影隨樹體受光位移，有時因劇烈搖晃或偶爾一片雲，在建築平面上形成若深若淺的動態灰階。《剩餘的風景》是懸置在椰子樹與樹影間的曖昧形體。
　　對於自然形態的迷戀，一如立石鐵臣「與其說對樹木產生情感，不如說被交錯的樹木與葉脈的排列所吸引，心裡有股欲望，企圖將這些感覺收藏在心裡⋯⋯」，因而反覆描繪留下大量勞動的筆跡。
　　幾週前，住屋處窗台望出去那五棵直挺向上生長的椰子樹，因夏天的防颱措施被就地剷除了。這幾棵樹是我每個清晨對天空的日安，如今成為空地上棄用的廢材。 剩餘的是樹影，是植物園裡受戰火波及的椰子樹，是躺平的幹木材，是尋常日景中掃地的落葉，是樹幹代謝向下垂落的大量樹皮⋯⋯。我想藉此潛入事物之中，寫生自然，以靜物招喚風景，為捕捉差異，不斷地複寫，複寫時間的逝去狀態。



◆　關於藝術家｜李若玫

　　1985年生於臺灣臺北，畢業於國立臺灣藝術大學美術學系碩士班，現居住與工作於臺灣臺北。
　　李若玫的創作主要來自於個人日常經驗的感受及其轉換，自事物尋常紋理及細節的凝視與反覆描畫中，尋找觸知的記憶風景。善於運用不同的手法與媒材來進行紀錄、轉化，讓這些習以為常的事物產生變化，滑移出原先的秩序，再塑其重新被觀看的可能，作品帶有特殊的詩性。過去重要聯展於關渡美術館、誠品畫廊、弔詭畫廊；亦曾受邀於法國、日本、泰國、澳洲參與聯展與駐村計畫。

主辦單位：絕對空間
空間營運贊助：國藝會
展覽贊助：臺南市政府文化局、國藝會

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【 Landscape Remains】
Date｜2020 / 7 / 29 Wed. - 8 / 1 Sun.
Opening｜2020 / 8 / 1 Sun. 15 : 00
Forum｜2020 / 8 / 1 Sun. 15:30 -17 : 30
Guest｜Hsu, Chia-Wei

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【Statement】

Trees wrap time.

Several years ago on a winter evening, among the mundane scenery I came across two coconut trees—two royal palm shadows cast by sunlight on the buildings’ walls. The four-story-high tree shadows were displaced as the sunlight moved upon the trees. At times since the trees shook vigorously or due to a piece of cloud passing, a dynamic gray-scale scene appeared on the buildings’ surface. Landscape Remains contains the ambiguity between the coconut trees and the tree shadows .
My obsession with the natural forms is just like what Tateishi Tetsuomi once said: “Rather than being emotionally connected to trees, I was more attracted to the inter-lacing of trees and the arrangement of leaf veins. There was a desire inside my mind to attempt to collect those feelings….” Therefore, I kept on drawing and left the strokes of labors.
A few weeks ago, those five coconut trees that grew straight up outside the window of my place were cut down due to the typhoon prevention policy in summer. Those trees had been my greetings to the sky every early morning, but they turned out as the waste abandoned on spare land. What remain are the tree shadows, the coconut trees in the botanic garden that suffered during wartime, the wood that lies on the ground, the fallen leaves that sweep the ground in ordinary daily lives, the massive tree bark that hangs off the trunks because of metabolic activities.… With the series of works I want to dive into objects, portray the nature, and evoke the scenery with still lifes. In order to capture the differences, I keep copying the conditions of time fading away.

◆　About　Lee, Jo-Mei｜
Born in 1985 in Taipei, Taiwan. Graduated from Master Degree of Department of Fine Art, National Taiwan University of Arts. Lives and works in Taipei.
The creation of Lee, Jo-Mei mainly comes from the personal experience of daily experience and its transformation, from the ordinary texture of things and details of the gaze and repeated painting, looking for a touch of the memory landscape. She is good at using different techniques and materials to record and transform, so as to change these accustomed things, slip out of the original order, and reshape the possibility for them to be seen again. Her works have a special poetic quality. In the past, he exhibited in Kuandu Museum of Fine Arts, Eslite Gallery and Crane Gallery. She has also been invited to France, Japan, Thailand and Australia to participate in joint exhibitions and artist in residence.