非池中藝術網

非池中藝術網

亞洲藝術中心:【 台北藝博會 2018 | 展位 G03】

台北藝博會 2018 | 展位 G03
李真 的「青煙」系列於2011年開始進行創作:但是我們從李真上世紀1993年的《悟空》等,早已呈現「雲」的圖騰、而後又將人的情緒與雲的型態結合,例如2004年《仙境尋幽》、2007年《御風遊》等,再到近期2011年《一縷》、《善變》即是透過雲霧飄渺無形的樣貌比喻人性意識,直到如今的「青煙」已完整脫胎成型,擁有獨立而新的雕塑生命系統。
李真曾描述:「青煙 一切既是有意,但卻是寫意中的無意。」不再侷限於表面形式,「青煙」彷彿氣流澎湃日光浩瀚,斜陽萬金闃黑無垠,型態各異,顯然已將「雲」的流動物質開始寄養,獨具自由的性格。這些變化多端的煙氣雕塑,輾轉跌宕如蒼龍。山脈、水火、文字若奇石,人形、瓊漿、花、枯木、神獸…那般的千奇百怪,一場「光怪陸離」極度詭奇而自體繁殖。
相較於西方雕塑,由幾何造型、極簡、到理性的工業化之抽象型態作為比較,確實產生相對的抽象性,各有異取,妙處無窮。而現當代藝術處於西方形式的「話語權」並全面西化且影響創作,藝術家要如何回歸自身文化、融合而再造呢?或許李真正在尋找一種「無意」抽象,使東方雕塑開創新的可能。

Art Taipei 2018 | Booth G03
LiChen began working on "Ethereal Cloud" since 2011, however his manifestations of "cloud" can be traced back to the symbolism in "Sun Wukong" (1993), then "Riding the Wind" (2007) merged the dynamics of cloud with human emotions, "Moving On" (2011) translated the state of consciousness through the formless nature of cloud. Now, the Ethereal Cloud has taken shape, and possesses its own unique sculptural entity.
Li Chen has stated, "the EtherealCloud series as a whole is deliberate but also an expression without intent, a nonexistence of consciousness."
Ethereal Cloud is no longer restrained to formality, its re-imagination appears in forms of surging currents and radiating sunlight, rays of golden sunset and deafening darkness; “cloud” as a fluid matter has begun manifesting its unrestrained characteristics in distinct forms. These ever-changing sculptures of smoke and clouds rise and swirl like a dragon, taking shapes of mountains, water and fire, characters as peculiar as strange rocks, nectar, blossoms, withering trees and manlike beasts… they appear so curiously odd, their presence induces an “extraordinarily bizarre” feat that is both highly grotesque and self-reproductive.
When compared with Western sculpture’s abstract structure – from geometric, minimalist to the rational expressions of industrial forms – the differences between both abstractions are evident and endlessly intriguing. Contemporary art is developed within the Western discourse and heavily disrupted by its dominant influence, then how can an artist rethink, integrate, and rebuild their own culture? Perhaps what Li Chen seeks into the abstraction of “nonexistence”, is pioneering new possibilities for Eastern Sculpture.