展覽時間：11/11-12/31（Sat.-Sun.）
開幕茶會：11/11（Sat.）15:00-17:00
地點:大雋藝術｜台中市南屯區惠文路489號

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記憶延伸的純真----唐唐＆張立曄

文/王焜生
The Age of Innocence – About Chang Li-Yeh and Tang Tang
Text/ Emerson WANG

「生命」與「自然」的純粹感受力可以將形式藝術的固有疆界藩籬打破，揚棄傳統學院派的繪畫技法，找尋最單純而直接的藝術肌理讓繪畫的內在更充分地展現，這應該是當今欣賞藝術作品時我們所追求的終極。

唐唐以繪本插畫在童書界享有盛名，除了精緻雕琢的故事主角與場景，每個畫面都有著濃濃的強烈情感，迷濛的奇幻風格中濃縮想像與現實，近幾年的繪畫與雕塑作品更充滿着淡淡的懷舊與記憶，這些經驗將不同年齡層的觀眾串聯起一個情感的線條。最新的雕塑作品將陶土的樸質特色表現出來， 在凝結的外殼上雕刻或切割出線條痕跡，展現他對材質的敏感與興趣，這些具有表現主義童稚、原始的特點呈現了原始的的創造力，就如同純真的孩子內在那未曾受過太多社會化的心靈。

張立曄的繪畫創造出反美學的、超現實的形象，將塗鴉式的、兒童畫的形象納入濃厚顏料的構圖中，像是牆面或地上的刻畫及各種粗糙顆粒感、自然斑點充滿了原始的趣味，他不斷探索物質材料在畫幅表面的可能，因此呈現了瑰麗絢爛的奇景。而這一次，張立曄將作品立體化，他畫中的花朵、小動物都有了具體的像是人類形象，擬人化的雕塑同樣有著自然的色彩，細看每個肌理都有探索不盡的線條細節。

兩位藝術家的作品皆以自然色系為主，色彩追隨材質的自然表現而隱於抽象形式中，他們創造出一種由平面擴展至空間的繪畫與雕塑，與觀眾產生共鳴，甚至利用類似生活的語言、塗鴉和漫畫的樣式，反映了「在地」的情懷風格。唐唐與張立曄兩位藝術家雖然來自不同的成長背景與經驗，他們卻對於存在生命本體的純真與自然散發的狀態都珍視着，並透過繪畫與雕塑將這些生命情境以不被刻意雕琢的方式重現于我們的眼前。藝術是描述說故事的載體超越文字所劃定的限制，延伸出無限的想像。

生命充滿着自己與生俱來的意念，法國思想家盧梭（Jean-Jacques Rousseau, 1712-1778）主張自由主義教育思想，人有天賦的自由、理性和良心，教育應受天性的指引，以培養自然人爲目標。當代世界過多的形式主義將我們的初心以偽裝的方式提供了所謂新的生活美學標準，卻忽略自然純真的美好。

老子曰：「 大盈若沖，其用不窮。大直若屈，大巧若拙，大辯若訥。」最充盈的如同是空虛一般，但是它的作用反而無窮盡；正直的猶如彎曲一樣，越有智慧者，越顯得笨拙。這也是當我門欣賞兩位藝術家作品時所得到的啓發，無須可意的雕琢，藝術其實就存在自然裡與本心中。

兩位藝術家建構了一個新的想像世界，看似天馬行空超乎現實，實則一直存在於我們的心，那最原始的對於美與純真的追求，讓心靈自由，可以毫無拘束顧忌的馳騁夢想草原，其中也包含了許多的感性。

原來，當我們不再被形式所約束時，真正的自由才得以開展，我們的想像也才能飛翔。



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The Age of Innocence – About Chang Li-Yeh and Tang Tang
Text/ Emerson WANG

The pure creation of the spirit shows us at certain heights, the summit of the creation to which man is capable of attaining. Art is like poetry. The emotion of the senses, the joy of the mind as it measures and appreciates, the recognition of an axial principle touches the depth of our being.

Known as a popular and famous Fairy tale illustrator, Tang Tang creates a pure, clean and simple world, where the children become the main characters in universe. The characters have little inner life; their motives are clear and obvious. There is no psychology in a fairy tale. Not psychology. They claim that tellers, hearers, and readers of the tales accept without question the sufficiency of fate, chance, inevitability or magic. 

Recent years, Tang Tang realizes his painting to sculpture, which rebuild a new way of seeing, from turning page to page to going around the works, involving with the environment. The gaze between art object and viewer indicates the new relation of seeing and being seen. The acceptance of magic in wonder tales can be fruitfully considered from a child developmental perspective. Fairy tale carries us back to this primordial kind of attention, the attention we gave the world when everything was “for the first time.”

Different from the professional, academic training background artists, Chang Li-Yeh’s creation is like out-sider or Naïve art. He embraces any painting or sculpture created outside the confines of contemporary or traditional culture - and thus free from cultural manipulation or influence. It is based on its creative purity and on the inspiration it gave his own work. His work is untarnished by contact with prevailing cultural values, and this spontaneous expressionism inspired his own original childlike drawings, graffiti scribblings and signs, and was the conceptual base for his primitive-style structure executed without any sense of composition or clear aesthetic characteristics. 

He depicts largely realistic scenes, often in skilled detail, with people, animals, and other aspects of the observed world, sometimes combined with fantasy images. Meanwhile he also aspires to normal artistic status and may often be seen as quite sophisticated amateurs verging on professionalism. 

Two artists create a new aspect of art, which full of purity, emotion, imagination and fantasy, where we are able to extend our memory and autistic thinking. The color and form they make are not from reality but from our dream. The development of the awareness of forms of creative expression that exist outside accepted cultural norms, or the realm of “fine art”, like Jean Dubuffet has defined. The feature of their works are recognized, and often imitated, for its childlike simplicity and frankness.

Jean-Jacques Rousseau once said: “Conscience is the voice of the soul, the passions are the voice of the body. Is it astonishing that often these two languages contradict each other, and then to which must we listen? Too often reason deceives us; we have only too much acquired the right of refusing to listen to it; but conscience never deceives us; it is the true guide of man; it is to man what instinct is to the body; which follows it, obeys nature, and never is afraid of going astray.” The moment is also the movement for us to look back to our heart, tracing the priceless value of soul.


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