晨霧
2009
Oil on canvas
41 x 53 cm
2009
Oil on canvas
41 x 53 cm
11.10.2009
11.03.2009
11.02.2009
10.28.2009
9.21.2009
9.15.2009
9.04.2009
8.24.2009
Shangrila
那遙遠的地方
2009
Oil on canvas
162 x 112 cm
一場水患
徹底摧毀了每個人心裡的那個"香格里拉"
那與世隔離的淨土
那遙遠的地方
一次浩劫
將所謂的烏托邦
狠狠的綁上人世間無盡的苦難
........
2009
Oil on canvas
162 x 112 cm
一場水患
徹底摧毀了每個人心裡的那個"香格里拉"
那與世隔離的淨土
那遙遠的地方
一次浩劫
將所謂的烏托邦
狠狠的綁上人世間無盡的苦難
........
Detail of "Shangrila"
Detail of "Shangrila"
Shangrila 一詞來自於英國作家James Hilton的小說"Lost Horizon" (消失的地平線, 1933), 敘述一個神祕, 孤立但又快樂的人間烏托邦(Utopia). 2009年8月, 一個颱風造成台灣許多人現實上的烏托邦就此消失! 毫無料到賴以安身立命的家園, 一夕間竟成了最遙遠的地方. 每日無言的看著新聞畫面, 我心中的Shangrila也隨之而逝......
7.29.2009
7.15.2009
River
河
2009
Oil on canvas
112 x 162 cm
那是一張風景
夜景
深咖啡的地方是天空
底下數條的白色膠帶是河流
在夜空交會
那幾條膠帶的缺口處
正是交會的所在
這張有未完成的味道
也正是我創作的一貫手法
大塊面的處理
配合簡單的色調
襯托出夜色的寧靜
但畫面看起來並不十分單純
甚至有一點髒髒的感覺
那是黑夜裡寧靜中的喧鬧
彷彿在夜裡渡河
心裡想平靜
水的聲音
卻穿透了凝結的空氣
照映渡河者
緊張又矛盾的心情
(我只是用拼貼的概念來作畫)
Thought is real, the phsicial is illusion.
Idea is real, the image is fiction.
那是一張風景
夜景
深咖啡的地方是天空
底下數條的白色膠帶是河流
在夜空交會
那幾條膠帶的缺口處
正是交會的所在
這張有未完成的味道
也正是我創作的一貫手法
大塊面的處理
配合簡單的色調
襯托出夜色的寧靜
但畫面看起來並不十分單純
甚至有一點髒髒的感覺
那是黑夜裡寧靜中的喧鬧
彷彿在夜裡渡河
心裡想平靜
水的聲音
卻穿透了凝結的空氣
照映渡河者
緊張又矛盾的心情
(我只是用拼貼的概念來作畫)
Thought is real, the phsicial is illusion.
Idea is real, the image is fiction.
7.13.2009
Shore
岸邊
2009
Oil on canvas
53 x 72.5 cm
Thought is real, the physical is illusion.
Idea is real, the image is fiction.
2009
Oil on canvas
53 x 72.5 cm
Thought is real, the physical is illusion.
Idea is real, the image is fiction.
6.26.2009
6.09.2009
6.08.2009
5.30.2009
5.20.2009
5.13.2009
4.29.2009
浮生
浮生
2009
Oil, charcoal and acrylic on canvas
127 x 203 cm
"The world we see is not exactly the world it is."
127 x 203 cm
"The world we see is not exactly the world it is."
Detail of "浮生"
Detail of "浮生"
Detail of "浮生"
4.04.2009
4.02.2009
3.10.2009
3.06.2009
2.23.2009
The World Is Your Mirror
The good you find in others, is in you too.
The faults you find in others, are your faults as well.
After all, to recognize something you must know it ~
The possibilities you see in others, are possible for you as well.
The beauty you see around you, is your beauty.
The world around you is a reflection, a mirror showing you the person you are.
To change your world, you must change yourself.
What you see in others, shows you yourself.
See the best in others, and you will be your best.
Give to others, and you give to yourself.
Appreciate beauty, and you will be beautiful.
Love, and you will be loved.
Seek to understand, and you will be understood.
Listen, and your voice will be heard.
"So whatever you wish that others would do to you, do also to them..."
- Holy Bible, Matthew 7:12
10.05.2008
The End and Another Departure
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.
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