非池中藝術網

102當代藝術空間

【光的距離•未知之地─廖進祥個展】Distance of light•Unknown land- Liao Chin-Hsiang Solo Exhibition

  • 展期

    日期:2021-05-25 ~ 2021-07-07

  • 地點

    台南市仁德區成功三街102號

  • 參展藝術家

    廖進祥

光的距離•未知之地─廖進祥個展
Distance of light•Unknown land- Liao Chin-Hsiang Solo Exhibition
展覽日期|2021/05/25(二) – 2021/07/07(三)
展覽時間|週三至週日 11:00-18:00
開幕茶會|2021/06/06(日) 15:00(取消)
展覽地點|102當代藝術空間

※因疫情影響,原定2021年6月6日《光的距離•未知之地─廖進祥個展》開幕茶會取消,造成不便,敬請見諒。


約翰•伯格在「觀看的方式」一書中寫道:觀看先於言語。孩童先會觀看和辨識,接著才會說話。
不過觀看先於言語還有另一種意涵。藉由觀看,我們確立自已置身於周遭世界當中;我們用言語解釋這個世界,但言語永遠無法還原這個事實:世界包圍我們。我們看到的世界與我們知道的世界,兩者間的關係從未確定。

在這不確定中,繪畫因此而誕生。

我創作的核心便在這二元對立:主體/客體、真實/虛構、連續/非連續、光/影等背後找尋兩者距離間的差異(未知)。
而主體/客體、真實/虛構、連續/非連續、光/影等二元對立是一體,而非是存在於對立面。兩者相互增減、相互映襯。
兩者間的不確定,是時間所造成的距離。

對於風景(未知之地)觀看之後:是記憶的殘影、圖象的殘影、也是繪畫的殘影。是繪畫本身。

隨著時間的推移,不斷把自已隔絕到一定距離。出於對未知的好奇。在進行的畫面上,以自動性技法所產生的偶然,不斷的探索、實驗、試行錯誤。以便能創造出這兩者之間的反差可能。度量我的思考與我的創作之間的距離。然而這距離便是思維創新的可能性也是觀看本身的反思。

光的距離,所談的不是物理上的光或是自西洋繪畫以來所探討的光。而是指畫面與觀者的眼睛以及心所發生的光的距離。是觀(畫)者對畫作的內在詮釋。

用珠光粉色系就是要做出觀者與畫作之間的距離。因觀看畫作時的距離、角度的移動,而在畫面產生偏光效果。因偏光而產生觀者與畫作的距離校正,繼而意識到距離。
這個意識的觸及可能切換先入觀,捨棄對“物”(物體型態)先入為主的觀念呈現出“真空”的狀態。而開啟內心的對話、詮釋與感受。

從眼到心是光的距離。


John Berger wrote in his book Ways of Seeing: ”Seeing comes before words. The child looks and recognizes before it can speak.
“But there is also another sense in which seeing comes before words. It is seeing which establishes our place in the surrounding world; we explain that world with words, but words can never undo the fact that we are surrounded by it. The relationship between what we see and what we know is never settled.”
Thus painting is created under this uncertainty.

The core of my creation is about binary tension—subject versus object, continuity versus discontinuity and light versus shadow, as I search for the difference (which is unknown) that lies in the distance in between them.
Meanwhile the binary tension in subject/object, reality/fiction, continuity/discontinuity and light/shadow makes them one, for they do not exist against the other. The binary pair completes and complements each other.
And the uncertainty between them is a distance produced by time.

After piece of scenery (a realm unknown) is seen, it becomes a blurred image of memory, of picture and of painting. Now it is the painting itself.

As time goes by, I continuously force myself in a certain distance. Due to my curiosity to the unknown, I explored, experimented with and investigated the spontaneity created by automatism on my paintings in progress continuously. This is for the purpose of creating the possibility of a binary pair in tension. I ponder the distance between my thinking and my work; but this distance in itself is seeing.

The distance of light is not a discussion about light in physical aspect, nor is it the light from Western art history which is widely discussed. It signifies the distance that occurs in between a painting and the sight and mind of its viewer. It is the inner interpretation of the painting by its viewer.

I apply pearlescent silver paint for the purpose of forming this distance between viewers and paintings. This produces a polarized light effect on canvas, which varies at different viewing distance and angles. Due to this effect, viewers may shift their distance from the work and thus recognize this distance.
This awareness of distance may furthermore kindle their inner interpretation and senses, so that they can hold a dialogue or an interchange with the paintings.

The distance of light lies in between sight and soul.



102當代藝術空間廖進祥

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