梁祐寧：告別派對有點脆
LIANG Yu-Ning: A Crisp Goodbye
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⋄ 展期 Duration | November 16 — December 22, 2024
⋄ 開幕 Opening | November 16, 2024 15:00
⋄ 地點 Venue | Hiro Hiro Art Space (台北市中正區紹興南街10號)
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在最新個展《告別派對有點脆》中，梁祐寧用繪畫儀式與母親道別，它不是一個瞬間完成的事件，而是一個持續的過程，表層看似以派對的形式展現，實則隱喻美好瞬間的短暫即逝。「脆」不僅是對個人狀態的描繪，也是植物本身的特質。
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藝術家藉由植物的形象，象徵著人與人之間的連結，寄生那些筆觸與意識，他紀錄與母親離別後的日子，才恍然意識到這是道別的起始點。從情感的頓挫到自我沈澱，透過繪畫的實踐，進行儀式性的告別，掀開暫時被覆蓋的陰影，探討生離死別帶來的後座力。
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陪伴母親走過病痛至生命終點的記憶片段，不斷在他腦海反覆湧現：病情的轉折、急促的呼吸、眼窩的淚珠……隨著時間流逝，信仰的輪廓逐漸模糊，僅剩對生命脆弱與無常的深刻感知，這些記憶碎片逐漸滲透進畫布，化為植物的形象，藉此傳達那段無法言說的經歷。每一次的創作都像是一次次的告別，在每個來回的筆觸間，沈澱放下內心的不捨，創作的勞動最終轉化為一種無聲的自我療癒。
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對梁祐寧而言，植物是情感的寄託與記憶的載體。種植盆栽最初僅是一種興趣消遣，漸漸成為生活日常，照料過程彷彿是與自我的對話與冥想。植物從萌芽到凋零的循環，展現一種脆弱而真實的陪伴，也揭示了消逝為生命的必然本質。他經常觀察植物枯萎的狀態，感受其脆弱的生命體徵下所隱含的張力，也為最終蜷曲的姿態所吸引。
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光、空氣和水是植物生長的必要元素，也是這系列作品的核心。藝術家以微觀植物作為感知的手段，經由感知經驗內化成象徵性的微光。這些微光不具備照亮空間的任務，它們處在植物的邊緣處，噴槍的漸變效果，組成這些微光的具體延伸。噴槍的使用過程產生與畫布的距離感，試圖在模糊曖昧間，呈現視覺經驗的現實感。如水的流動性、膠的黏稠感、塑膠袋的皺褶或冰塊質地，物質與植物的過渡，共同形成繪畫者與植物之間的腦補行動。
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創作以來，梁祐寧起初描繪植物的形體，而後藉植物的輪廓，向內填充。每個筆觸律動，是身體勞動，也是情感的堆疊，以及對質地的再次詮釋。常使用的紅紫色，是植物燈長期照射的痕跡，已成為他繪畫過程中一種階段性的符號。這些人工照明，從日常的視覺感官，反覆投射於意識，再融進顏料裡。光入侵的脈絡，帶來一種身體感知的複合經驗，最後在畫布上顯現，猶如一場對光的無形追逐。
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LIANG Yu-Ning: A Crisp Goodbye
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⋄ Duration | November 16 — December 22, 2024
⋄ Opening | November 16, 2024 15:00
⋄ Venue | Hiro Hiro Art Space (No. 10, Shaoxing S. St., Taipei City)
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In LIANG Yu-Ning's exhibition, A Crisp Goodbye, the act of painting becomes a ritual of bidding farewell to his mother. For LIANG, this farewell is not a singular moment but an ongoing process that takes the form of a party while metaphorically encapsulating the fleeting nature of beautiful moments. The concept of “crisp” describes not only his personal state of mind but also the inherent quality of plants.

In LIANG’s work, plants symbolize the connections between people, their imagery nurturing brushstrokes and consciousness to take root. In documenting the days following his mother’s passing, LIANG experienced a profound realization that this process of remembrance marked the beginning of a goodbye. From the emotional turbulence to moments of inner contemplation, painting becomes for him a ritualistic practice to bid farewell, uncovering hidden shadows to delve into the aftermath of loss.

Fragments of memories from accompanying his mother through her illness to her final moments resurface repeatedly in his mind: the fluctuations in her condition, the labored breathing, and tear-filled eyes. Over time,LIANG perceives the certainty of faith gradually blurring, leaving only an awareness of life’s fragility and impermanence. These memories seep into his canvas, metamorphosing into plant forms that convey what words cannot—each brushstroke is a farewell to a moment in time. With every stroke, LIANG gradually releases what he once couldn't let go. Ultimately, the act of creation evolves into a silent form of self-healing.

For LIANG, plants serve as an emotional vessel and a repository for memories. What began as a casual interest in growing plants has become a daily practice. Tending to these plants opens a dialogue and meditation with himself. The cycle from sprouting to withering reflects the quiet companionship of learning to face life and death with equanimity, revealing that fragility is an intrinsic part of existence. He often observes the stages of wilting , reading their subtle signs, witnessing their delicate nature, and finding an unique allure in their final curled forms.

Sunlight, air, and water – elements vital to plants – are also essential to this series. Minute observations of plants become conduits for sensory perception, transforming these impressions into dim light that, while unable to illuminate space fully, spreads like a gradient around the plants' edges. The airbrush technique creates a deliberate distance between him and the canvas , representing the visual experience in an ambiguous state. The fluidity of water, the viscosity of glue, the creases of plastic bags, and the texture of ice contribute to his imagined interplay between substance and plants.

Throughout his creative journey, LIANG commenced with capturing plant forms before working inward to fill their contours with substance. Each rhythmic stroke carries both bodily movement and accumulated emotions, offering new interpretations of texture. The recurrent use of purplish-red hues reflects the prolonged exposure to grow lights, marking a symbolic phase in his creative practice. This artificial light, first perceived through daily visual perception, then projected into his consciousness and merges with pigments. The pathways of light penetration creates a complex perceptual experience that ultimately manifests on the canvas, rendering the creative act an unspoken pursuit of light.

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