展覽開幕暨座談 Opening & Lecture｜10/11 Sun. (TBC) 15:00
｜白適銘 ╳ 宋曉明   PAI Shih-Ming ╳ SONG Sheau-Ming｜

專題座談 Themed Talk｜11/01 Sun. 15:00
｜陳貺怡 ╳ 宋曉明   CHEN Kuang-Yi ╳ SONG Sheau-Ming｜

展覽地點｜采泥藝術（台北市中山區敬業一路128巷48號1F）
Venue｜Chini Gallery (​1F., No. 48, Ln. 128, Jingye 1st Rd., Zhongshan Dist., Taipei City 104051, Taiwan)

開放時間｜週二至週日10:30-19:00
Opening Hours｜TUE-SUN 10:30-19:00

交通資訊｜捷運劍南路站2號出口 步行約5分鐘
Direction｜MRT Jiannan Road Station (Exit 2) 5-minute walk

當代，一個普遍被喻為「繪畫已死」的時代。

安德魯‧魏斯（Andrew Wyeth）以極度精細而寫實的繪畫風格傳達欲予觀者的意象，被賦予懷鄉寫實主義大師的稱號。然而，他卻自稱為抽象畫家；畫面框景中的形象從不代表在描摹後即告完結，因為外在世界的自然之中潛伏著不易捉摸的質地，成為心性內涵得以附著的實體──於此，思緒跌宕，意識流淌，對於家鄉的珍愛思念與憂傷事物逝去的感傷，唯有凝視作品，靜默體會，才開始受召喚而現身……

這樣的心境亦可作為《潮間帶─宋曉明》個展的映照：作為遊子離家隔海望鄉，看水色天景萬千轉換，反映自身心境的變化──宋曉明以全然直覺的記憶印象擷取海岸的切片；遮擋在觀者與此風景之間的，是宋曉明以精湛的寫實技法如實描繪、微妙置於畫面上的紙膠帶。宋曉明以記憶印象擷取海岸的切片；遮擋在觀者與此風景之間的，是宋曉明以精湛的寫實技法如實描繪、微妙置於畫面上的紙膠帶。紛亂變換的當下，此般抽象意識與極度仿真並置的畫幅，正是一面內在反思的觀景窗，要求我們先判斷思量，始得前行至後方期待以想像補完的空間──在海平面橫向延伸的深沉暗湧裡，有成長記憶，也有鄉愁追憶──理性計算的佈局之下揉雜摻浮的，是對已逝歲月的懷想。

飽含思緒的抒情抽象，是精神與物質雙軌交疊、奮力掙扎的表徵，演示著當代的存在議題。遠景的海岸之前，呼喚我們質疑眼前所見，凝視與沉思遠方波動的海平面，進行對於真實的辯證。

何謂真實？需要的不是細究，而是真切感受。


The contemporary era is an age when many believe that “painting is dead.”

Andrew Wyeth conveyed images he had in mind to the spectator with a highly delicate and realistic painting style, and has been known as the master of nostalgic realism. However, the artist called himself an abstract painter. For him, the image in the frame was never truly completed after the action of painting was finished. The reason is that there are elusive qualities hiding in the external natural world, which are assimilated into one’s being before they become attached to substantial objects – therefore, when the mind is at work and the consciousness flows incessantly, one’s affectionate remembrances of the hometown and sorrows for things in the past could only be perceived in quietude and revealed through gazing at the works of art.

This state of mind perfectly epitomizes the exhibition, Intertidal – SONG Sheau-Ming. Being in a foreign land and away from home, the artist thought about his hometown lying on the other side of the vast ocean, perceiving how the ceaselessly changing nature of water and sky reflected his shifting state of mind. He then captured memories and impressions of the coastal sea in an intuitive manner. In between the spectator and the mental landscape lies Song’s depiction of masking tape delineated with brilliantly realist techniques and placed in a subtle way on the image. This most noticeable piece of masking tape in the image is like an alternative “punctum” – in such tumultuous moment in the era of the Anthropocene, such juxtaposition of the abstract consciousness and the realistic simulation forms a window of contemplation, requesting the spectator to pause and observe before moving forward and into the space to be completed with one’s imagination. The dark, surging currents on the horizontally extending sea are mixed with memories of growing up and nostalgic remembrances; blended into this rationally meditated arrangement is the reminiscence of the days gone by.

The lyrical abstraction filled with thoughts is the representation of interweaving matter and mind as well as one’s rigorous struggles, visualizing the contemporary issue of survival. Before the coast in the distance, the surface of the sea with its toppling waves is asking us to question what we see and engage in the dialectic about reality.

What is real? What we need to answer this question is not to carefully examine the details but to truthfully feel them.