【Art Central HK 藝博會-展位E09】
日期：2019-03-27 ~ 2019-03-31
Stijn Ank、Iabadiou Piko
今年3月的香港Art Central藝術博覽會，路由藝術將帶著來自印尼的藝術家依亞拜迪歐．匹可 (Iabadiou Piko)，以及比利時的藝術家史丹．安克 (Stijn Ank) 的作品參展。
印尼藝術家依亞拜迪歐．匹可 (Iabadiou Piko)作品中強烈的色彩與元素，體現了他豐富的內心世界。匹可的作品相容了不同的文化與風格，當觀者凝視著匹可的畫作時，便能輕易受到他那自由的風格與不受限制的靈魂感召。匹可的每一件作品皆再再表現出他整合各種元素與媒材的卓越能力。而比利時藝術家史丹．安克 (Stijn Ank)的作品則展現了對於媒材精準的控制力，然而，其中卻又不失自由意志。以石膏作為其主要的創作媒材，憑藉直覺將混有顏色的石膏倒入模中，層層堆疊，賦予作品自主權，使之得以渾然天成。
NUNU FINE ART is delightful to present the exhibition of Indonesian artist Iabadiou Piko and Belgian artist Stijn Ank for Art Central Hong Kong 2019 on March. Indonesian artist Iabadiou Piko, his creations burst with strong colors and elements, showing its rich internal world. The results of Piko’s artworks demonstrate his extraordinary ability to integrate styles from different culture streams. When it comes to Piko’s painting, visitors may see the freestyle (free spirit), whereas each picture show his great ability to compose elements and material onto the canvas.
Belgian artist Stijn Ank’s artworks show the precise control of the material and composition, but he intentionally chose not to take full control of how his work will result. Using plaster as the main medium, pouring the pigmented plaster that he picked by intuition earlier into molds layer by layer, so that the artworks were given the maximal autonomy and discretion until the works form naturally.
Both artists grew up in different cultural environments and were trained in completely different educational systems but still inherited the traits from the previous principles in art history. They shared the same spirit of reflecting on the nature of art, dedicating themselves fully to discover their own idea of the final possible answer in art.
“Controlled Coincidence” by Indonesian artist Iabadiou Piko and Belgian artist Stijn Ank
同時，在創作中加入了大量符號，亦是匹可與塔皮埃斯極為相似之處。 對於塔皮埃斯來說，這些帶有寓意的元素反映了藝術家的內心世界，他對抽象藝術進行創新，結合符號象徵主義，透過這些符號賦予作品意義，同時傳達藝術家的思想。而匹可的創作中始終帶有相似的影子，他無意對觀察的對象進行客觀描寫或紀錄，而是在畫面中利用許多符號性的圖樣，傳達自己主觀的意念和情感的想像。 匹可曾經表示，由於性格木訥使然，唯有在繪畫時，才能真正地展現自己。而畫作中時常出現的動物形體，或是獸爪等圖像，某種程度也是匹可自己內心真實的轉化。而這些象徵的符號，自然也帶領著觀者，進入這位來自印尼含蓄大男孩所創建的國度，奔馳在他所幻化的自由中。
There is an anecdote about Pablo Picasso: Due to his early success, Picasso’s house was always filled with art dealers waiting while he was painting inside. There was once that when Picasso was working on an uncompleted painting, he suddenly asked one of the art dealers came in and informed him the painting would be represented by him. The dealer was overjoyed, “Once it is completed, definitely a guarantee of commercial success!”
Unexpectedly, Picasso only replied with a trace of sarcasm, “This painting has completed.”
The story above not only reveals Picasso’s naughty personality, but in some ways, he was also trying to tell us: The process of making art is a continuously dialogue and battle between the artist and his/her own work. Throughout such dialogue, the artists can really bring themselves to a balance of coexistence with the work. However, this "Process" is endless, when is the moment to stop, put down the brush, and devote him/herself unreservedly on the canvas?It definitely is the most important lesson in artistic creation.
Piko's Visual Diary
If we look back the art history, the earliest to demonstrate “the process" on the canvas was Futurism in 1909. The Futurists admired the speed of mechanism and industrialization, and believed that the kinetic theory should be applied to the canvas, showing the dynamic movements of universe. They liked to use overlapping and repetitive techniques, reflecting the things in the world are constantly moving. Even today, we still can find many contemporary artists and genres, trying to reveal the reality that has always been pursued by these believers through the process of the development of artworks.
Being an artist who treats his work as a visual diary, “the process" is, of course, an important part in Iabadiou Piko's painting. In fact, with a background in photography, Piko has seen his art as a means of documenting his life. With such diary-style technique, he situates his work in an shifting position. If we describe the process of artistic creation as a process from 0 to 1, most of the artists focus on the final result. However, for Piko, he tries to present the process from 0 to 1 instead, and as for the finished piece, is nothing more than a summary of this journey.
In addition, “the process” has another meaning for Piko: The internal intimate tangles of the individual artist emitting through the art pieces. Through his paintings, we can clearly perceive his creative journey: the heap of paints, the trend of lines, the blending of colors, and all these elements, along with artist’s struggles and emotions, are entirely exposed to the viewers. Although the scenarios on the canvas are the artist's objective observation of the surroundings and the nature, they are subjectively mixed with Piko’s energy and personality. The lines are sometimes definite, sometimes distorted; the structure is sometimes compact and sometimes loose, accompanied by those discernible objects and beasts, drag us into Piko’s unique imaginary world.
Interestingly, when we face a series of Piko’s paintings, we sense a deeper impact than watching the single piece. If you read the images carefully, you will realize that there is a connection between each of his individual work. Similar to keep a diary, the feeling expression is not fragmental but Interrelated. The totem or symbolic languages randomly appear in Piko's paintings direct reflect his inner thoughts and impulses. Through the paintings, we seem to open up Piko’s personal diary and have a glimpse of the deepest part of the Indonesian artist's mind.
Symbols and Compound
In Piko’s painting, aside from the ordinary media such as charcoal, oil paints and acrylics, he also employs many rare materials like volcanic ashes and bitumen. The usage of these elements, undoubtedly relates to his motherland. Indonesia, which lies at the intersection of several tectonic plates, has intensive volcanic activity. Except for the connection with Piko’s country, it also reminds us the Spanish artist Antoni Tàpies. Piko is profoundly influenced by Tàpies. Aside from the similarity of self-taught in art from both ends, Tàpies’ way of using a variety of materials in the work also inspires Piko. For an artist, the importance of the materials that the artist put into their works from the spiritual perspective would not be evaluated inferior to the thesis within the artworks. And just like Tàpies, Piko tries to create a brand new aspect by mixing the texture of the physical materials that he'd been used. In fact, the texture surface he came up with and the direct usage of comprehensive makings would reveal not only the streak and the hue of themselves but the role of independent expressions. It also shows that the interaction between the artist and the media is also an important factor to allow the work unfold its vitality.
In addition, adding a large amount of symbols in the work is another similarity between Tàpies and Piko. For Tàpies, these moral elements reflect the artist’s mental views. He combined the abstract art with symbolism, gave meaning to the works by using the symbols, and conveyed the artist’s idea. Piko's painting shares the feature. He does not intend to objectively describe or record the objects, instead, he uses many symbolic patterns to convey his own subjective thoughts and emotional imagination. Piko once mentioned that due to his introverted personality, It was only in the moment when he draws that he could let his hair down. Also, the images of animals or claws in his works are the metaphor of his inner world in some ways. These symbolic elements naturally lead us to get into the world created by this reserved, Indonesian boy, allowing us to roam through his dreamy fantasies.
史 丹・安 克｜Stijn Ank
自建築設計跨足純藝術領域的創作者並不少見，如將極簡主義延伸至立體雕塑的極簡主義大師托尼・史密斯（Tony Smith）、以奇特而不規則線條聞名的現代主義建築大師法蘭克・蓋瑞（Frank Gehry）等，都是很好的例子。而對安克來說，創造建築與藝術品有著同樣初衷——這不只是一個物件，而是一個能與「人」互動對話的窗口。
Ank’s body of work can be considered as an extensive research into the relationship between matter and void and the various ways in which contemporary sculpture can be defined in relation to its surrounding space.
He creates a mold with a variety of materials such as wood, aluminum, lead and rubber marking off the boundaries of a certain chosen space, which he then casts in plaster. During the casting process Ank mixes pigments with the liquid plaster, letting the material render their ultimate appearance. The works created by this process are both fragile and robust, delicate and solid, light as a feather and heavy as lead.
For Ank his works are not merely sculptures placed in space but 'stances' or 'subjects' that appear out of the space itself. They do not refer to any reality or to themselves as objects and define themselves on the basis of the relationships with both the viewer and the space thus continuously changing.
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