楊世芝個展─斷變之間
A Solo Exhibition by Emily Shih-Chih Yang
Disorderly in Order
08 May ~ 05 June, 2010
http://www.itpark.com.tw/exhibition/data/273
Opening Reception: 7:00pm, Sat., 08 May 2010
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2010年無論從哪個角度看，都是一個震撼年代。大環境方面，天災不斷，氣候異變，地震、水災頻傳。強權掌控的全球經濟，又好像是一段茫盲迷途，每個人都可能隨時身陷其中。這樣的年代，絕望、挫折混雜著必須活下去的意念，而藝術卻顯得愈發純粹，它忽然再也不是修身養性的媒介，也不是肩負什麼拓展文化的使命，光是「單純去做」，就已令人覺得幸福得淚流滿面。
近期作品的主要方向，還是在延續多年專注的議題－「整體觀」在現代繪畫中如何能走出更多的可能性。這次展品，除了繼續2007年作品說明＜筆墨可以橫著走＞（可參考http://www.itpark.com.tw/exhibition/data/36）中的內容外，還想試著延伸談談有關傳統繪畫中所謂的「意在筆先」的基點，因為我的構圖是從第一筆慢慢發展，心中完全沒有預設任何圖形，筆觸不斷延伸發展、改變、成形、整合。作品的大小尺寸也未事先確定，一直隨著圖像「整體」的發展來決定。這與「意在筆先」、「胸中有景」的作法是完全不一樣的。對我來說，重要的不是否定什麼，而是開展另外的一些可能性。至於傳統繪畫中的「皴法」當然形式很多，各有特別的功法與作用，但都有一定的規矩，既使是黃賓虹的「筆筆斷 筆筆變」，也還是在同一「筆法」的規範之下試圖鬆! ��! �。
這次在近作「蒼潤華滋」中，我用了大面積的部份在談「筆筆斷，筆筆變」，但用了不同的筆觸斷片，順著斷片之間隱藏的力量，一連一變，一變一連，而「斷變之間，以氣貫連」，雖非傳統的皴法，但有異曲同工之力。
以上的看法是在作品完成後，靜下心來，與作品慢慢拉出距離，整理分析後的心得，希望與大家共享這幾年的進展。 (楊世芝 2010)
Artist Statement
No matter what perspective is taken to look at 2010, it is a year defined by great shock. The environment is undergoing massive upheaval, with a changing global climate and constant natural disasters in the forms of earthquakes and floods. The fate of the world economy is in the hands of a powerful few and at, anytime, ordinary people can find themselves faced with debt and poverty. In this type of era, feelings of hopelessness and frustration are commonplace in our daily survival. However, art is becoming increasingly pure; no longer a medium for self-cultivation or the development of culture. The motto, “Just Do It,” is enough to motivate artists.
The main direction of recent works is a continuation of a long-focused topic – How a “Holistic View” can open up even more possibilities in contemporary painting. In this exhibition, in addition to continuing the content of 2007’s description "Unconventional Strokes" (refer to http://www.itpark.com.tw/exhibition/data/36), I would also like to extend the discussion on the point, “The Brush Follows the Intentions ,” found within traditional painting. Because my composition starts to expand slowly from the first stroke, there were no images set in my mind, only that which started to continuously expand, change and integrate. The work’s size was not predetermined, only following the image’s “Overall” progress. This is completely different from the “The Brush Follows the Intentions” and “View in Heart” approaches. To me, the important part is not to deny anything, but to open up another possibility. In relation to the various definite forms found withi! n ! traditional painting’s “texture strokes," each has its unique merit and function, but all has to obey a set of rules. Even Huang Bing Hong's "Fragmentary Stroke, Changed Stroke" is still only a strive towards the loosening of the rules of the "Stroke."
This time, in my latest work, "Green Chinese Scenery", I use a large area to discuss "Broken Stroke, Changed Stroke," but, implement different stroke fragments. Energy and tension reside within the different strokes, fluctuating with each change. "The different fragments are united by their energies," though not accomplished using traditional texture strokes, the same effects and results are achieved.
The above views were inspired after the work was completed, in quiet contemplation while I distanced myself objectively from the piece. After organizing the analysis of the experience, I hope to share with all of you my progress over the past few years. (Emily Shih-Chih Yang 2010)
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