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“视域之后”李英维个人作品展

  • 展览海报
  • 《次元序列 No.01 Dimensional Sequence No.01》 李英维 45x200cm 2018年 oil on canvas
  • 《次元序列 No.02 Dimensional Sequence No.02》 李英维 200x45cm 2018年 oil on canvas
  • 《次元序列 No.03 Dimensional Sequence No.03》 李英维 200x35cm 2018年 oil on canvas
  • 《次元序列 No.04 Dimensional Sequence No.04》 李英维 200x35cm 2018年 oil on canvas
  • 《次元序列 No.05 Dimensional Sequence No.05》 李英维 120x120cm 2018年 oil on canvas
  • 《次元序列 No.06 Dimensional Sequence No.06》 李英维 120x120cm 2018年 oil on canvas
  • 《次元序列 No.07 Dimensional Sequence No.07》 李英维 95x130cm 2018年 oil on canvas
  • 《次元序列 No.08 Dimensional Sequence No.08》 李英维 130x95cm 2018年 oil on canvas
  • 《次元序列 No.09 Dimensional Sequence No.09》 李英维 130x95cm 2018年 oil on canvas
  • 《次元序列 No.10 Dimensional Sequence No.10》 李英维 120x160cm 2018年 oil on canvas
  • 《次元序列 No.11 Dimensional Sequence No.11》 李英维 140x180cm 2018年 oil on canvas
  • 《次元序列 No.12 Dimensional Sequence No.12》 李英维 140x180cm 2018年 oil on canvas
展览时间:
2018-09-27 - 2018-10-22
开幕时间:
2018-09-26 18:30
展览城市:
澳门 - 澳门
展览机构:
澳门全艺社画廊
展览地址:
澳门罗理基博士大马路265号艺术花园一楼
主办单位:
全艺社
参展人员:
李英维

展览介绍

有抽像畫的藝術家場景 - 李英維繪畫作品發生的理則學,展覽“視域之後/看見無形”前言

法國現象學哲學家Michael Henry有著作名曰Voir l'invisible(觀看不可見者),其對康定斯基抽像畫理論的解讀,是要通過非具象的繪畫表象內向性的=不可見的=生命內在情感的本質之事。是以,李英維的這個展起名為:視域之後/看到無形的。

英維自述自身的繪畫理念,始終是對光的意義的追尋,以不同方式的光表象不同的心境內在。但另一方面,又在過程中強化對象徵意義的排除,經營純粹算法結果的純畫面本身,愈發趨向於冷抽象。但從第三個角度看,他何以施行這樣的繪畫方式的過程本身,是否就有一種行為意義?

英維現在的抽象作品是經歷了四個階段演變的結果。

sympathetic - 共鳴,通感,或者說,“人之常情”:當下的人,因為複雜混亂的各式信息,人情世故讓我們太累了,是以最容易和脫離任何物事,單純,平靜的空洞引發認同感。是以描繪具體物在背景空間中的缺失,光照亮的空間本身。

“echo”:空闊中一個孤獨的強音,必定要引起強烈的回音;光無疑是孤獨之聲的視覺化對應:難怪寥寥一兩束光,氣息會如此強烈。可是孤獨藝術家所期待的“迴響“,是不是也能實現呢?

“虛擬形狀”。按藝術家本人解釋,畫中的顏色取材自電腦,網絡上常見的光的顏色 - 所以,我們是不是可以將之想像為cyber賽博空間的光?

“虛擬”,“擬真的”既是藝術家自在自為,自我作古的世界,也是一種隱憂:在現下的生活中,人們漸漸把虛擬信息世界的種種作真實觀,“超真實”普遍被認同為比真實更有真實感,也更為重要。與其為他人擬像的世界所困,勿如自己來作各種'虛擬形狀'。虛擬雖非本體的真,卻可以是品質上,實效上比真更真。現在,觀者不再能輕易投射入畫中,享用“共情”的孤獨。

“次元序列”(),Dimensional是多維空間的構築,序則則是線性時間的頻率。它是繪畫語言自身自為系統深化展開的結果,但未始不是sympathetic的缺失,對echo期待的落空,而向內展開自己獨立世界的結果。

該系列恍惚處在與英維最喜的藝術家羅斯科的“色域繪畫”的關聯中。不同於羅斯科,他的色塊之間並不互相滲透,也沒有在製作出一定的對比強度的基礎上進行透氣呼應;而是非常愣非常直的條狀色彩之間微妙色差的銜接顏色會疊,但從不摻色;疊色作為透明罩色法促成深色。

畫面上的條狀是對畫布基底物理邊界的形狀的重複;序列化的條狀形制促成了畫作工序繁瑣化的同時,實則也在畫面秩序法則上的簡化。

由粉色,熒光色系的相鄰色的等分,序列的微妙變化所營造的;這種傾向停留於局部,從整體上,又被幾組區域的色彩空間深入間的關係的衝突抵消,因而重回平面性。這種曖昧是否恰反映了一種生途勞跡態度之真實?

如上這諸般,我們看到,克己格物的真相倒是即心即理。也許這就是作一個中國人所必使然的?和沒有太多塵世煩惱,容易耽迷於純理論,有著濃厚的本體論興趣的西方人 - 一個藝術工作者的本體論當然就是“何謂架上繪畫本身” - 相比,一個中國人的純粹抽像畫,黜情感,理智設計之結果的冷抽象,終究逃不過是世上行動的結果,是在世心態的象徵化表象的呈現。濃濃的,紅塵的氣息。

An artist scene with abstract paintings - The logic behind Sylviye Lei’s paintings

Preface of the exhibition “Seeing the Invisible”

In the French phenomenological philosopher Michael Henry’s famous work “Voir l'Invisible” (Seeing the Invisible), his interpretation of Kandinsky's abstract painting theory is about the process to reveal the introverted = the invisible = the essence of inner emotions through non-figurative paintings. Based on this, Sylviye Lei’s exhibition is titled “Seeing the Invisible”.

According to Sylviye Lei’s artist statement, his intention has always been the pursuit of the meaning of light. He is looking for expressions of various state of mind through various expressions of light. On the other hand, in the process of strengthening the exclusion of symbolic meaning, the painting itself that manages the pure algorithm results tends to become a cold abstraction. But from the third point of view, does he have a behavioral meaning in the process of implementing such a painting method?

The current abstract works of Sylviye Lei is the result of four stages of evolution.

“Sympathetic”; which means resonance, synesthesia, or the understanding of "human nature". Due to all kinds of information and human emotions, which lead us to fatigue, people nowadays finds it all the more easy to connect with the simple, the calm and the void and create a sense of identity from this. This series depicts the lack of concrete objects in the background space; the space itself is illuminated by light.

?

"Echo"; which is a lonely and strong sound in the air, causing a robust reverberation. Light is undoubtedly the visual correspondence of the sound of loneliness. No wonder a single beam of light, can create an atmosphere with such strength. But can the "reverberation" that the lonely artist expects be realized?

?"Virtual Shape"; according to his own explanation, the color in the painting is based on the color of the light common in computers and networks. So, can we imagine it as the light of the cyber-scape?

The “virtually real” is not only an artist's self-conceited, self-conceived world, but also a hidden worry: nowadays, people gradually make the virtual information world into a true view. Not only "hyperrealism" is more realistic than reality, but also because of people's general acceptance from the perspective of social reality, it is indeed more important than reality. Instead of being trapped in a world created by the others, would it be better to make a variety of “Virtual Shapes” by oneself? Although “virtual” is not the true nature of the body, it can be more qualitative and practical than the real. Now, the viewer can no longer easily project himself/herself into the paintings and enjoy the “sympathetic” loneliness.

"Dimensional Sequence”; which is about the multidimensional nature of space. And Sequence is the frequency of linear time. It is the result of the deepening of the painting language itself; because of the absence in the “Sympathetic”, and the empty result of the expectation of “Echo”. Therefore it is the result of expanding its own independent world.

This series of pictures appears to be associated with Sylviye Lei’s favorite painter Rothko’s "Color-field painting". The difference with Rothko is that his color blocks do not penetrate each other, nor do they breathe in response to the production of certain contrast strength. Rather, they are very straight and almost dull between strips of color. They are the convergence of subtle chromatic aberrations. The colors are superimposed, but never mixed. The colors are used as a transparent cover to produce dark color.

The strip on the painting is a repetition of the shape of the physical boundary of the canvas base; the serialized strip shape involves the cumbersome drawing process, but it is also a simplification on the structure of the painting.

The subtle changes of the adjacent colors of the pink and fluorescent colors and the subtle changes in the sequences, as well as the method used have become clearer. However, this is true only in the details. From the overall picture, the relationship between the color spaces of several groups of regions is conflicting with each other, thus pulling the whole picture back to the plane. Does this ambiguity reflect the reality of a “born to work” attitude?

As mentioned above, we have seen that self-control and the pursuit of study in all things is the realization that Truth dwells within our heart and not beyond. Perhaps this is a Chinese tendency to do so? For westerners who are not too concerned about mortal coil and are more prone to be fascinated by pure theory and ontological interest - the ontology of an artist is of course "what is the painting itself". However, a Chinese’s pursuit of pure abstraction, which is the result of the emotions and the rational design, is an inevitable result of the action of the world, and is the revelation of the symbolic representation of the mundane mentality. It bears a thick and dusty atmosphere of this world.

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(责任编辑:陈思竹)

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