?1/14 Sat
15:00-16:30 專題講座 Lecture
‧ 主講人│張禮豪
16:30 開幕 Opening

———————————————————————————————

陳承衛繼他廣為人知的古典題材和風格《大民國》、《自傳體》之後，以一種更具表現力的現代繪畫手法來呈現另一個他，也就是《生命之花》系列。他放棄了寫實的客觀描摹，而進入更加主觀的畫面給予，他吸收印象派之後的色彩和線條，傳承現代繪畫的精髓，將東方的壁畫、宗教藝術、唐卡、星宿等元素融入其中。《生命之花》系列的創作靈感來自於他深愛的母親，一次他注意到那些母親長年於家中種植的花卉盆栽，忽然發現這些多彩多變的花卉造型；像人從卵子、胚胎長成，也像宇宙能量積醞過後的釋放，陳承衛將母親所給予的溫暖記憶幻化，以《生命之花》讚頌生命綻開的神奇魔力。
陳承衛此次個展《生命之花-四季》承襲了中國古典的「連屏」繪畫，將二十四節氣的自然之美，以微妙的變化與溫潤的色彩將時間凝聚於作品的序列之中。《四季》承襲了《生命之花》系列中表現性的點點描繪筆觸，這些繁複而柔美的曲線有些類似印象派手法或中國的文人寫意，或擦或搓、或輕敷堆疊，以濃烈的材料特質趣味，吐露深刻情感狀態。元四大家倪瓚（1306-1374）曾經說過：「僕之所謂畫者，不過逸筆草草，不求形似，聊以自娛耳。」這段話似乎可以表達出陳承衛在這種相對輕鬆自在，不刻意刻畫的創作中所投注個人情感的美學特質，陳承衛筆下的每一幅《生命之花》都帶著藝術家的觀想和能量印記，融會自然與人文，再再訴說天人合一的隱喻關係。

After the classical topics and style embodied by his well-known Self-portrait Series and Series on the Republic of China, Chen Cheng-Wei now presents another aspect of his life with a more expressive approach of modern painting, and brings the series – Blossoms of Life. In this series, the artist moves away from realistically objective delineation, and instead embraces a more subjective formulation of images. Having assimilated Impressionist colors and lines, he continues the essence of modern painting, while incorporating elements extracted from Eastern arts into the series, including mural, religious art, tangka, and the Chinese constellations. The inspiration of this series comes from the artist’s beloved mother. When visiting his mother, the artist noticed the flowers and potted plants at his mother’s place, and his eyes were suddenly opened to the colorful flowers in their various forms, which are reminiscent of human beings growing from eggs and embryos, as well as the release of accumulated cosmic energy. The artist consequently transforms the loving memory of his mother into the magical power visualized by the blooming flowers celebrating flourishing life in Blossoms of Life.

This solo exhibition, titled Blossoms of Life - The Seasons, by Chen Cheng-Wei adopts the Chinese classical tradition of “joint screens,” and portrays the natural beauty of the twenty-four solar terms, utilizing nuanced changes and gentle colors to coagulate time in the order of the works. The Seasons continues the expressive dotty brushstrokes characteristic of the Blossoms of Life series. The elaborate and tender curved lines are suggestive of Impressionist techniques and the lyrical expression of the Chinese literati painting. The artist’s use of the different techniques, such as wiping, rubbing, thinly applying of color, and layering, enables the characteristic charm of the visually strong medium to convey profound feelings and emotions. Ni Zan (1306-1374), one of the “Four Great Masters of Yuan Dynasty,” stated that “what I call painting is nothing more than delineations comprising freewheeling brushstrokes, which is simply for self-entertainment instead of pursing form.” This passage seems to express the emotion-infused aesthetic quality embodied by his relaxing and unforced depiction. Each painting in the Blossoms of Life series is an imprint of the artist’s contemplation and energy, which brings together nature and culture to speak about the metaphorical union between heaven and humankind.