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。
兩位藝術家雖然在截然不同的文化與教育體系中成長，但他們的作品中，卻存在著相同的精神和那屬於藝術的本質，使他們能夠持續的探索，在各自的藝術旅程中尋找答案。

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.

香港中環藝術博覽會
展期：3月27日至3月31日
展位：E09
地點：Art Central
中環海濱活動空間
香港中環龍和道9號

“Controlled Coincidence” by Indonesian artist Iabadiou Piko and Belgian artist Stijn Ank

伊亞拜迪歐・匹可｜Iabadiou Piko
西班牙巨擘畢卡索（Pablo Picasso）曾經發生一段有趣的軼事：很早即成名的他，每每在自宅創作時，外頭總是排滿等著被他招見的藝術經紀人。有一次，創作到一半的畢卡索，興頭一起，將在外頭苦苦等候的一位藝術經紀叫喚進來，指著自己畫一半的作品，告知此人作品將由他代理。這位藝術經紀喜出望外之餘，巴結著說，只要完成後，絕對是一件能夠大賣的畫作。

沒想到此話一出，畢卡索隨即冷冷回答，這件作品早已經完成了。

此番揶揄，固然顯示出畢卡索的調皮，但某種程度也不外乎想要告訴世人：在藝術創作過程中，是一個藝術家持續不斷地與自己作品的對話和戰鬥。而透過這樣的對話，創作者才能真正將自己帶到一個與作品共存的平衡。不過，這樣的「過程（Process）」是永無止盡的，也正因為是永無止盡，因此，在什麼時候決定止步，停下畫筆，將一路以來的點滴和掙扎忠實地呈現在畫布上，正是創作最重要的課題

日記式的創作語言
回顧藝術史，最早真正將「過程」如實展現於畫布上的是1909年義大利未來主義（Futurism）。未來主義畫家們歌頌工業與機械的動能，認為應把萬物的運動論運用到畫中，表現出萬物的動態感。他們喜愛使用重疊與重複的手法，體現世界上的事物總是在不停地運動。到如今，我們仍舊不斷看到許多新興創作者與藝術流派，都希望透過展現發展作品時的過程，體現藝術創作者自古不斷追求的真實。

作為一位將自己繪畫視為某種視覺日記的創作者，「過程」自然是伊亞拜迪歐・匹可（Iabadiou Piko）繪畫中重要的部分。事實上，本身為攝影學系畢業的他，始終將創作視為記錄生活的一種手段。而這樣的日記式紀錄手法，總讓作品處在一個變動的進展之中。如果我們形容藝術創作是一個從0到1的過程，大部分的作品就是最後的結果，然而對匹可來說，他希望呈現給世人的是那段從0到1的一路變化，至於我們最後所看到的作品，也只是這段過程的總合而已。

此外，「過程」之於匹可，還有另一層意義：就是那股自作品中散發出關於藝術家個人的，私密的內心糾結。從他的繪畫中，我們一方面可清楚感受到他的創作歷程：顏料的堆疊、線條的發展、色塊的交融，而這些元素所構成，一切於畫面出現的掙扎和情緒，同時又赤裸裸地呈現在觀者眼前。雖然畫中的題材皆是藝術家對生活周遭與自然的客觀觀察，然而這些描繪卻又夾雜著匹可主觀的力道和個性：線條時而飛快明確，時而蜿蜒曲折; 結構時而緊湊，時而舒容，而畫面上那些彷彿可辨的物件和走獸，同時把我們拉進匹可獨有的想像世界裡。

有趣的是，當我們面對匹可的一系列作品時，可產生比觀看單件畫作更深的感受。若仔細閱讀，便能發現匹可作品之間有著某種關聯性，如同我們書寫日記的當下，心情的轉折總是持續而非片段破碎的。匹可畫作中時常出現類似的圖騰或符號語言，而這些元素，直接反映了匹可在此一時期創作的內心想法與衝動。透過一系列畫作的欣賞，我們彷若翻開匹可的日記，一窺這位印尼藝術家心中最深處的那一塊。

符號與媒材拼貼
匹可創作中重要的視覺語言，除了尋常的炭筆、油畫與壓克力顏料之外，他更大量了使用火山灰與灰泥如此少見的素材。這樣的媒材選用，自然與匹可自身的成長背景有關。位居板塊交界帶的印尼，整個國界內火山活動活躍，而這樣的選擇，除了與他本身的家鄉做連結，我們更可以聯想到西班牙藝術家安東尼・塔皮埃斯（Antoni Tàpies）。塔皮埃斯是一位被匹可視為影響自己的最重要創作人物之一。原因除了匹可與塔皮埃斯同樣是靠著自學的方式走上繪畫的道路之外，作品中將多種材料混合使用，並利用類似拼貼進行媒材混合的手法，也給予了匹可許多靈感和啟發。藝術家所投注於材料的精神性，重要性絕不亞於作品背後的論述。如同塔皮埃斯，匹可的畫作中，在物質材料肌理的表現上試著融合出一個嶄新面貌，事實上，他所創造出的的表面肌理以及對綜合材料的直接利用，不僅顯示材質不再淪為線條、色彩的附庸，而是具有獨立表現性的主角，更說明了藝術家與作品材料之間的互動，亦是使材質展現生機的重要因素。

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

建築設計背景出身 作品有著能與空間對話的靈性

來自比利時的藝術家史丹・安克（Stijn Ank）出身建築設計，在轉為專職藝術家之前，他以高開放性、強調線條延伸性的建築聞名，無論是2012年於阿斯佩拉爾完成的《折疊Folding》，或是同年於布魯塞爾西北改建的公立中等學校《視野Vision》，都可以看出安克對空間掌握力的純熟與洗鍊，而這樣的背景也讓他的藝術作品有著與空間對話的靈性。
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.