文/陳偉毅

寫實 不死
寫實繪畫雖然並非當今繪畫主流語彙
但它永不退流行
漆器 不朽
漆器雖然是逐漸為人們所遺忘的傳統工藝
但它一直令人讚嘆
寫實 特別照相寫實是一種強迫症
它非得將細節描繪的一清二楚
絕不善罷甘休
漆器 是傳統工藝裡的另一種偏執
它非得要將工序一次又一次的拆解
才能光可鑑人
寫實 是訓練眼睛觀察的基礎
我們創作由此開始描繪所欲呈現的內容
藉此達到心中表達的慾望
漆器 是手臂手指肌膚觸感的反應
運用力道輕重拿捏反覆推磨
最終令人折服欽佩
我的寫實漆畫
既不是現代繪畫主流 也不是傳統工藝傳承
既不是西方繪畫媒材 又並非東方意境題材
我僅是回歸到初衷
以自己取得的材料 根據自己所學經驗 記錄自己身邊所見
以東方的漆當顏料 西方素描光影手法 描繪週遭花卉蟲鳥
在偏執強迫的持續穩定中
無關傳統與現代
拒絕批判與拉攏
一筆一劃
記憶花卉的光影
－
Exhibition Ideas
Realism is immortal.
Realistic paintings, although no longer a mainstream phrase nowadays,
will never fade out.
Lacquer works is everlasting.
As a craft almost forgotten,
it remain marvelous.
Realism, especially realistic photography, is in fact a form of OCD,
as it must portrait details vividly without compromise.
Lacquer works can be seen as a kind of paranoia.
They must go through various steps of making in order to shine in front of people’s eyes.
Realism is the foundation of one’s observation.
By crafting what artists aim to reveal, we show our desires.
Lacquer works measures the reaction between skin and the works themselves
By pushing and pinching the raw materials,
The final works eventually become admirable.
My realistic lacquer works do not belong to modern mainstream painting;
Nor are they the continuity of traditional craftsmanship;
They are not the elements of western painting materials;
Nor are they Eastern topics.
What I do is simply go back to the original beginning,
Stating with the materials I gain myself,
further record what I see according to my own learning experiences.
I use oriental painting and western light and shading techniques to represent flowers, insects and birds.
In this paranoia of continual stability,
modern and tradition are irrelevant,
and criticism and roping in are denied.
Each stroke is the remembering of the shadows and lights of flowers.