展位 Booth｜3D20
貴賓預展 Private View｜2019.03.27 - 03.28
公眾展期 Public Days｜2019.03.29 - 03.31
地點 Venue｜香港會議展覽中心 Hong Kong Convention and Exhibition Centre

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大未來林舍畫廊將於2019 Art Basel HK帶來華人現代抽象繪畫的引領者—吳大羽個展。展覽以多角度呈現吳大羽創作的各種嘗試及研究。媒材方面包含油畫、漫畫、水墨、彩墨、蠟彩、色粉、水彩、鋼筆畫、鉛筆畫等，並結合多種風格的研究，如印象派、立體派、野獸派，乃至於東方線條及構圖的實驗。呈現其多彩並豐富的油畫與紙上文獻作品，使觀者一同體會一代大師藝術創作的脈絡與思維。

「人類文化是一種才智和德行交融的力，它無時無刻不在要求前躍，要求飛展，要求昇華自己的人格，要求突破陳舊黑暗；要求光明，要求生之美，要求無限止的美善。學藝術的人在這崗位上要能執守著美化人類的一種信念，堅守著它，久持住它。」吳大羽《致畢業同學書》

吳大羽於1920年代中期留學法國，為第一批參與中國政府「勤工儉學」運動的藝術家之一，返國任教後，與林風眠、潘天壽等致力於現代中國藝術的改革與發展，林風眠稱譽他為「非凡的色彩畫家，宏偉的創造力」。他的畫作不拘於對象的形似，用筆瀟灑奔放，色彩鮮明而抒情，畫面頗具抽象性。吳大羽除了創作在藝術史上所佔有的重要地位外，亦培育出吳冠中、趙無極、朱德群等第二代兼融中西藝術的畫壇翹楚。吳大羽自旅法時即推崇塞尚（Paul Cézanne），又曾經在雕塑家布岱爾（Antoine Bourdelle）及立體主義鼻祖勃拉克（Georges Braque）工作室學習，其對於造型、構圖之基礎，均深受後期印象主義及早期現代主義影響。40年代後即投入東方哲學、老莊的研究思考，以其早年旅法之見聞結合中國哲學、詩學、書法與繪畫觀念，創建體大思精的「勢象」理論。吳大羽曾道：「......示露到人眼目的，祇能限於隱晦的勢象，這勢象之美，冰清月潔，含著不具形質的重感......」。其繪畫可與傳統東方繪畫精神有所銜接，東方抽象是為「意象」，介於具象和非具象之間。而所謂「勢」，也就是具體形象間的聯繫，這是中國人哲學所謂「自然」，即是吳大羽所提的「勢象」。吳大羽的學生在「勢象」中各自體會出自己定義的部分，影響著華人抽象繪畫的整個起源、啟蒙。

Lin & Lin Gallery is honored to present the work of visionary abstract painter Wu Da-Yu in a solo exhibition at 2019 Art Basel HK. The exhibition would include the artist's oils, cartoons, ink, gouache, encaustic, pastels, watercolors, and fountain pen and pencil drawings, which reflect his exploration of different styles such as Impressionism, Cubism, Fauvism, and even traditional Eastern line and composition. The many rich and colorful oil paintings and works on paper in the exhibition would offer viewers an opportunity to experience the context and concepts of this great master of his generation.

The strength of human civilization lies in a blend of wisdom and moral integrity. It demands leaping forward incessantly, flying, raising the dignity of all, and breaking through the darkness of obsolescence. It demands light, the beauty of life, and limitless good. Those who study art should maintain a belief in beautifying humanity, hold fast to this principle forever. —Wu Da-Yu, A Letter to My Classmates upon Graduation

Wu Da-Yu studied in France in the mid 1920s, and was one of the first artists to participate in the Chinese Government's Diligent Work-Frugal Study Movement. After returning home and taking a teaching job, Wu, along with Lin Fengmin, Pan Tianshou and others, revolutionized modern Chinese art. Lin Fengmin praised Wu as “a painter with an outstanding sense of color and enormous creativity.” Wu's paintings are not limited by representation, as his brushwork is natural and unrestrained, his colors are bright and lyrical, and overall, his paintings are very abstract. Besides occupying an important position in art history, Wu influenced many second-generation artists, such as his students Wu Guanzhong, Zao Wou-Ki, and Chu Teh-Chun, who blended influences from the East and West in their works. While traveling in France, Wu admired the work of Paul Cézanne, and studied in the studios of sculptor Antoine Bourdelle and the originator of Cubism George Braque. During this period, he gained a foundation in form and composition and was deeply influenced by Late-Impressionism and early Modernism. In the 1940s, Wu became interested in Eastern philosophy, studying the writings of Laozi and Zhuangzi. He eventually synthesized all he had seen and heard during his early years in France with concepts from Chinese philosophy, poetry, calligraphy and painting to establish an expansive and profound theory which he called the “dynamism.” Wu said, “What is revealed to the human eye can only be obscure dynamism. The beauty of this dynamism is pure and clear, formless and immaterial, yet not to be overlooked.” His paintings can be linked to the spirit of the Eastern tradition, as Eastern abstraction relies on mental imagery that serves as an intermediary between the concrete and abstract. His concept of dynamism links concrete objects and images, and this is what is called “nature” in Chinese philosophy. This, in turn, is Wu's idea of dynamism. Each of Wu's students has relied on individual experience to define dynamism in his own way, thus Wu has had a comprehensive influence on Chinese abstraction from its inception to its ongoing development.

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