My second solo exhibition at Peter Scott Gallery, Lancaster University, UK
from 29 September to 3 October
Poster of exhibition (entrance of gallery)
from 29 September to 3 October
Poster of exhibition (entrance of gallery)
Peter Scott Gallery
Interior of gallery
"Dawn"
Interior of Gallery
Professor Emma Rose (Director of LICA) was making a speech
on the openning of my solo exhibition.
I was standing by for making my speech.
Emma and me
Gerry Davies (Senior Lecturer, internal examiner of my VIVA)
Visitors
Visitors
Bill Gamble
Visitors
Sarah Cleaver (Artist)
Visitors
Lauren Humphries(Exhibition Officer)
Visitors
Taiwanese and Chinese students
Mrs. Dawson (Artist)
Greek friends
Before opening night of show - Installation
'Diary Series'
'Diary Series'
Interior of Gallery
CV
"Between" ans "Harbour"
Statement of this solo exhibition.
"Ever" and "Zephyr"
一個句點之前
通常可能會有幾個逗點
至少一個
這樣才能成為一個完整的句子
讓詮釋更清楚
'Fu Sheng Ruo Meng, 浮生若夢 The Vanity'
是我生平的第二次個展
與2002年在紐約的第一次個展對照
我所感受到觀眾的熱情一樣
但為自己打了一個更高的分數
這分數不是用來誇耀
而是強調這只是完美的逗號
在它之後
還會有更多的逗號連接
希望最後結束的不只是個句點
而是個驚嘆號!
通常可能會有幾個逗點
至少一個
這樣才能成為一個完整的句子
讓詮釋更清楚
'Fu Sheng Ruo Meng, 浮生若夢 The Vanity'
是我生平的第二次個展
與2002年在紐約的第一次個展對照
我所感受到觀眾的熱情一樣
但為自己打了一個更高的分數
這分數不是用來誇耀
而是強調這只是完美的逗號
在它之後
還會有更多的逗號連接
希望最後結束的不只是個句點
而是個驚嘆號!
3, October 2008
I passed my VIVA
It's not the end of my journey
but the departure of new adventure
I passed my VIVA
It's not the end of my journey
but the departure of new adventure
In search of something poetic integrating painted images and raw materials,
the starting point of my work are objects which are generally available in my studio,
e.g. primed or unprimed canvas, used or crumpled masking tape,
aged or fragmental pieces of paper, charcoal, pencil, acrylic and oil paint.
By rearranging these ordinary materials,
various projections or associations can be generated by virtue of artistic transformation.
As Francis Picabia defined,
'The painter chooses something,
and then he imitates what he has chosen,
and finally deforms it.
This last is where the art lies.'
(Francis Picabia, 1921)
All images I created are synthetic.
They repeatedly evoke a number of realist conventions such as mediation of light and shadow,
close scrutiny of object and true-to-life appearance.
A sense of palpable vividness in my paintings invites the viewer into an immediate perceptual reality.
Yet,
during the process of 'seeing',
the intuitive impression from looking at such verisimilitudinous combination of painted images and raw materials may soon be challenged -
by realising that the material surface is simply a two dimensional picture,
a trick of the eye.
What you see does not always reflect what is true.
For another level of interpretation,
the optical illusion reveals the meaninglessness of obsession with the appearance of image.
Just as a Chinese idiom Fu Sheng Ruo Meng (浮生若夢) denotes,
each of my painting expresses an episode of my feeling or imaginings which is intangible and dreamlike.
However,
such intangible imagery is keen to communicate with the viewer's imagination and memory through its tactile quality.
the starting point of my work are objects which are generally available in my studio,
e.g. primed or unprimed canvas, used or crumpled masking tape,
aged or fragmental pieces of paper, charcoal, pencil, acrylic and oil paint.
By rearranging these ordinary materials,
various projections or associations can be generated by virtue of artistic transformation.
As Francis Picabia defined,
'The painter chooses something,
and then he imitates what he has chosen,
and finally deforms it.
This last is where the art lies.'
(Francis Picabia, 1921)
All images I created are synthetic.
They repeatedly evoke a number of realist conventions such as mediation of light and shadow,
close scrutiny of object and true-to-life appearance.
A sense of palpable vividness in my paintings invites the viewer into an immediate perceptual reality.
Yet,
during the process of 'seeing',
the intuitive impression from looking at such verisimilitudinous combination of painted images and raw materials may soon be challenged -
by realising that the material surface is simply a two dimensional picture,
a trick of the eye.
What you see does not always reflect what is true.
For another level of interpretation,
the optical illusion reveals the meaninglessness of obsession with the appearance of image.
Just as a Chinese idiom Fu Sheng Ruo Meng (浮生若夢) denotes,
each of my painting expresses an episode of my feeling or imaginings which is intangible and dreamlike.
However,
such intangible imagery is keen to communicate with the viewer's imagination and memory through its tactile quality.
