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"
4.29.2009
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.
9.23.2008
Diary Series
Friday
2008
oil, charcoal and acrylic on canvas
20.2 x 28 cm
20.2 x 28 cm
Saturday
2008
oil, charcoal and acrylic on canvas
20.5 x 28.5 cm
20.5 x 28.5 cm
Sunday
2008
2008
oil, charcoal and acrylic on canvas
20.8 x 29.5 cm
20.8 x 29.5 cm
9.19.2008
9.17.2008
Morning
晨
2008
Oil on canvas
65 x 90 cm
65 x 90 cm
"我們必須學著重新清醒過來, 學著保持清醒, 但不是用機器的幫助, 而是用對黎明的無窮希望, 這種希望從不會忘記喚醒我們, 就算我們在最甜蜜的熟睡之中, 也會把我們喚醒. 我所知道的最令人鼓舞的一項事實,是人能以一種自覺的努力, 提昇其生命的無可置疑的能力. 能畫一幅畫, 能雕一尊像, 因而美化一些事物, 是有些意義, 但最光榮的, 還有能畫出雕出那種我們藉以觀察事物之美的氣氛和媒介, 而這點我們都能做到. 標示當代的特質的, 才是至高形式的藝術."
(H. D. Thoreau, Walden, 1817-1862)
(H. D. Thoreau, Walden, 1817-1862)
9.13.2008
9.07.2008
8.27.2008
8.14.2008
However
However2008
acrylic and oil on canvas
65 x 90 cm
acrylic and oil on canvas
65 x 90 cm
自己蠻喜歡這張 "However", 有一點點的失落感, 當我完成的時候.
多看幾眼, 這失落感不就是想表達的嗎?
天生就一付懷舊的腦子, 有時候總想畫些什麼東西能代表那個"懷舊"...
舊房子, 舊照片, 舊風景, 舊舊的紀念品, 充其量只是望文生義而已,
要拐彎抹角的告訴觀眾"我所認為的懷舊的感覺", 這張似乎揣摩到了一丁點的樣子.
很多東西, 失去或搞丟了, 恐怕再也回不來
最通俗的比喻, 就好比時間消逝便永不復返...
或者是, 手上的花刺拔走了, 那傷口還留著, 痛感還存在.
每天在studio畫到頭昏眼花, 真不曉得在搞些什麼?
投資報酬率之低ㄚ....大概沒有人能理解
哪天回到了祖國台灣, 如果能有一口飯吃, 那就謝天又謝地也!
多看幾眼, 這失落感不就是想表達的嗎?
天生就一付懷舊的腦子, 有時候總想畫些什麼東西能代表那個"懷舊"...
舊房子, 舊照片, 舊風景, 舊舊的紀念品, 充其量只是望文生義而已,
要拐彎抹角的告訴觀眾"我所認為的懷舊的感覺", 這張似乎揣摩到了一丁點的樣子.
很多東西, 失去或搞丟了, 恐怕再也回不來
最通俗的比喻, 就好比時間消逝便永不復返...
或者是, 手上的花刺拔走了, 那傷口還留著, 痛感還存在.
每天在studio畫到頭昏眼花, 真不曉得在搞些什麼?
投資報酬率之低ㄚ....大概沒有人能理解
哪天回到了祖國台灣, 如果能有一口飯吃, 那就謝天又謝地也!
8.12.2008
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