心色之扉-蔣友梅個展|2.3-3.11|耿畫廊

心色之扉-蔣友梅個展|2.3-3.11|耿畫廊

 

蔣友梅「心色之扉」
Doors of Perception — Chiang Yomei Solo Exhibition

時間|2018.02.03–03.11
開幕|2018.02.03 (Sat.) 4:30 p.m.
地點|耿畫廊 Tina Keng Gallery
更多資訊|www.tinakenggallery.com


「讓自身為物所穿越,並讓精神寄居於物中——藝術家踐行著一種神奇的視覺理論;於此,繪畫者讓出了他的視看,使其目光成了貫通自我與存在的通道,令貫穿萬物的內在聯繫一一顯現。」
——現象學家 莫里斯.梅洛龐蒂( Maurice Merleau-Ponty ),《眼與心》

將身體儀式轉譯為詩意動人的時空敘事,於繪畫中輻射哲思光譜諧振色彩感知,誘引觀者跨越意識與物質宇宙邊界;蔣友梅的藝術語言於佛理聯結認知心理學、量子物理的哲學式纏結論述,可說是探究藝術核心最簡單同時也最為崎嶇的感知路徑;在她詩畫互文的諸多探索間,不變的意象是將「心色不二」的哲思展延至不同感知維度;將個人念想依物性原質交融轉呈,於色彩以至聲頻滲透出充盈飽滿的感官刺點,勾勒出與世存有的超驗藝術語彙。

佛家指涉中,「心」泛指意識層面的精神活動;「色」則是諸如肉體等有形物質及自然界中一切物性現象。唐代天台宗湛然大師以「色心不二門,一念三千」,言意識同肉身感知,交融構築三千世間的諦觀宇宙;闡明精神(心)和物質(色)相生共立的哲學性認知。無獨有偶,法國現象學家莫里斯.梅洛龐蒂於著作《知覺現象學》論述中,以知覺為先,解構身(肉身主體)、心(認知心理)、世界(意識世界)的互文關係,彷彿同質異述地完備了因「諸法性空」(註一)而二者相即的哲思論述。

人類身處的物質宇宙中,一切現象無不是此生彼生、此滅彼滅的相待互存。量子理論創始人馬克斯.普朗克(Max Planck)曾說:「世界上不存在所謂的物質……没有任何事物是靜止的,一切都在動,一切都在振動。」幾乎哲學般地述說所有物質均為能量頻率顯化的結果(註二);振動頻率的變化,影響顏色光譜、聲響音調等五感覺知;一旦進入量子層級改變原子共振鍵結,更意味著物質根本性質的轉化——從而改變認知中的現實。

以共振為原理的論述同樣在古印度瑜伽術以及藏傳佛教中脈輪(梵文「chakra」)修練法現身;修士們依七個主脈輪的顏色 —— 紅、橙、黄、綠、藍、靛、紫 ——由人體不同生理系統的能量狀態對應心靈認知(註三),用以修習對有形肉身與無形氣身(pranic body)的控制;藉各體式鍛鍊統合肌肉、腺體系統協調,同時透過聲音共振與色彩感知冥想聯貫自我心靈閱讀,徹底淨化、療癒身心,由脊骨底輪至頭頂頂輪貫通氣脈,達到「天人合一」的境界。

洞悉宇宙萬物與肉身知覺的鍵結,著眼心靈意識及物質世界的細膩視角,蔣友梅將「心色不二」的哲思體現於藝術語彙每個環節;本次展覽核心系列「共振」 (Vibration) 系列,便是透過繪畫勾勒出的私密儀式——一場將意識原形轉印於油彩原質的覺知行旅;蔣友梅收集象徵人身我執的髮絲,與塵土調和混攪油彩色料之中,以手代筆,於默誦《心經》的同時反覆書寫其260字梵書經文,直至畫布為可辨而不可辨的層疊字跡所充滿。而在顏料乾燥定調後,又再加以抹除、摧毀直至斑駁龜裂,如此重複著,最後於深邃絢麗的油彩肌理間留下恍若風化的經文殘跡——生滅滅己,儀式般重複著的自我迴返,彷彿一方畫布上顯像的時間疊加態;寄語油彩殘跡,將不再的存有鐫刻曾在時空,於意識水面劃出心色一極的幽微詩意。用色過程中,顏料色域光譜引導著感官覺知,彷彿回歸物理頻率與大腦神經元的共振,自動書寫般地陳述知覺與意識的互文關係;模糊的主、客體意識邊界,畫面浸染的原色於閱讀間解構色彩共感,對應七色脈輪顯現的不同心靈狀態,撩撥觀者身心連動的知覺諧振,於宇宙般的靜謐維度間,凝鍊一道道色光瀲灧的心識之門。

紙本水彩系列「初音」(The Sound of Emptiness),則宛若揭示一個個微塵中的大千宇宙——澹雅清透的暈染彩墨,濃淡間似是原初宇宙的飄渺虹霓;細筆交織出如同大腦內錯雜的神經元網路,又像星系間的銀河鍵鏈;彷彿在全息宇宙的形上奧秘中,印證「一念三千」的意識離合。

從無到有,自有歸無——在這些看似有如原地踱步的迴圈中,蔣友梅收束梳理所有莫可名狀的生命經驗;將一切念想觀照同知覺交融,將感知突觸延伸予物質宇宙共振,轉譯為通達感知的心色之扉;一如「空行舞」 (Sky Dance)系列作品中,那蘸滿顏料後直接踏印金彩紙面上的斑斕足跡,呼應著蔣友梅詩集收錄的一闕短詩《曾經你的腳步》:

“ 赤足的你 腳跡是金的 腳掌卻是血漬斑斑
瘡口就是癒合了 還是瘡口
你的血 也是大地的血 乾了還是血
他們說 有一天 你的血 會變成金光 來無影 去無蹤 ”

註1: 佛教用語,「諸法」泛指宇宙中的一切存在;「性空」指構成現象的一切性質,是變化不定的「空相」,因此所有意識及物質同時存在,也不存在。

註2: 結合量子力學和廣義相對論為萬有理論的「弦理論」是發展中理論物理學的一支。弦理論用一段段「能量弦線」作最基本單位;說明宇宙所有微觀粒子如電子、質子及夸克都能用理論函數表示成一小段不停振動的能量弦線,而各種粒子彼此之間的差異只是這弦線的長度、振動參數和形狀的不同。

註3: 在瑜伽理論中,人類身上共有七個主要能量匯聚的脈輪,它們與脊柱平行,分佈於身體的中軸線。七個脈輪的對應色彩分別為第一脈輪(海底輪)的紅色、第二脈輪(臍輪)的橙色、第三脈輪(太陽神經叢)的黃色、第四脈輪(心輪)的綠色、第五脈輪(喉輪)的藍色、第六脈輪(眉心輪)的靛色與第七脈輪(頂輪)的紫色和白色。

關於蔣友梅|

蔣友梅生於台灣台北,現居創作於倫敦。身具中、俄、德三國血統,自幼受中西文化薰陶,崇尚文藝。十歳開始寫詩詞,曾拜山水大師胡念祖、水彩大師王藍及素描大師李德為師。高中畢業後留學美國,就讀於紐約州史克德末大學,專修藝術和文學。此後留德,專修德語。

1981年,蔣友梅離德赴英,就讀甘德伯里肯特大學,於1984年修得藝術史及英國文學雙學士。在肯特大學時受現代藝術史學及評論家史提分.班教授影響,開始專研西方現代藝術史及哲學。畢業後,又於倫敦大學亞非學院研究中國美術史,拜讀於中國繪畫專家羅德里.魏特弗教授膝下。1989年,蔣友梅開始創作,包含繪畫、寫作、攝影、裝置、表演等方式,不斷地嘗試與實驗不同媒材,1994年於英國溫切斯特藝術學院取得美術學士。

1989年開始修佛,深受佛法啟發;加上對哲學、量子物理、心理學等充滿興趣,並喜好音樂、影劇及文學,此經歷與其創作過程及理念皆相輔相成。

The painter, any painter, while he is painting, practices a magical theory of vision. He is obliged to admit that objects before him pass into him or else that, according to Malebranche’s sarcastic dilemma, the mind goes out through the eyes to wander among objects; for he never ceases adjusting his clairvoyance to them.
— Eye and Mind, Phenomenologist Maurice Merleau-Ponty

To understand Chiang Yomei’s art practice through Buddhist philosophy, cognitive psychology, and quantum entanglement theory is simultaneously the most straightforward and most arduous way. In her exploration of the immaterial through poetry and painting, the artist transforms personal musings through different media, from color to sound, creating sensory experiences rooted in the artist’s artistic vocabulary.

In Buddhism, mind represents the human conscious activity; matter refers to the human body and all material phenomena in nature. As the 8th-century Buddhist Master Zhanran once said, “Since both the environment and the person are present as a single moment of experience, they cannot be divided into agent and patient. … Mind creates matter, matter creates mind; I am performing the world, the world is performing me. I am thinking myself in the sky, the sky is thinking itself in me.” In Phenomenology of Perception, Merleau-Ponty saw the human body as ‘a perceiving thing,’ intricately intertwined and mutually engaged with the world. It embodies the Buddhist concept of emptiness , that mind and matter are one.

Another philosophical elucidation of all matter as the manifestation of vibration frequency comes from quantum theory founder Max Planck, who once said, “There is no matter as such! All matter originates and exists only by virtue of a force which brings the particles of an atom to vibration and holds this most minute solar system of the atom together.” The change in vibration frequency influences the spectrums of color and sound, as well as the fundamental transformation of matter at the quantum level, further altering reality as we perceive it.

The vibration theory appears in Indian yoga and Tibetan Buddhism as well. There are seven primary chakras located along the spinal cord. Each chakra is associated with a particular color/vibration/sound, a natural element, a bodily organ and an emotion. In Kundalini yoga, the practitioner meditates on the seven colors — red, orange, yellow, green, blue, indigo, and violet to achieve harmony and transcendence.

On view in Doors of Perception, Chiang Yomei’s latest solo exhibition, the “Vibration” series documents the artist’s journey where her consciousness metamorphoses into vibrant colors rendered in oil paint and mixed media through the artist’s physical labor. Using a soft tube filled with a viscous mixture of sand and adhesive, the artist repeatedly inscribes on canvas the 260 characters of the Heart Sutra, until the canvas is filled with legible and illegible overlapped text. As the text dries, she incorporates substances such as her own hair, incense ash, seeds, and coarse fibers, while simultaneously using her hands and tools to destroy — through attrition, mottling, and cracking, or even by completely peeling off the surface material — until what remains seems like the remnants of erosion.

Blurring the boundary between subject and object, the artist allows her amplified senses to resonate with the colors, evoking different states of mind manifested through the seven chakras, thereby triggering viewers’ perceptual responses and perhaps ushering them through the doors of perception.

“The Sound of Emptiness” works-on-paper series evokes many a microcosm, where watercolor, pencil, and gouache render primordial cosmic energy in organic abstract shapes of varying tones of blue or pink, embodying “three thousand worlds immanent in a conscious instant” and quietly divulging the metaphysical mystery of the universe.

To arise from nothingness and then return to nothingness; through seemingly futile physical labor the artist distills all her ineffable experiences into chromatic renditions. She expands personal experience by allowing her thoughts and perceptions to coalesce in the art-making process, and in so doing forges a connection with the universe where she paves a path to the infinite through the doors of perception. Such is exemplified in “Sky Dance,” the artist’s latest works-on-paper series, where the vibrant prints made by the artist’s feet, dipped in paint, stepping directly onto the paper, are reminiscent of her poem Your Steps are Golden:

Your steps are golden
but the soles of your feet
are stained the blood of the earth

Your blood

A thousand cuts
Your flayed flesh
Covered in ash

They say
Gold has no shadow
They say one day
gold
will be flowing through your blackened veins
like fire

About Chiang Yomei

Born in Taipei, Taiwan, to a Chinese-Russian father and a Chinese-German mother, Chiang Yomei studied art and literature at Skidmore College, New York, after a traditional Chinese education in Taiwan. As a child in Taiwan, she studied traditional Chinese landscape painting with the contemporary master Hu Nian-Tzu, life drawing with Li Der, and watercolor with Wang Lan. She began writing poetry from the age of ten. Later she moved to Germany to study the German language in Lüneburg and Göttingen.

In 1984, Yomei obtained a bachelor of arts degree in the history and theory of art and English literature from the University of Kent at Canterbury in the U.K. At Kent, Yomei studied under the eminent modern art historian and critic Dr. Stephen Bann, who became a great influence.

After Kent, Yomei continued to pursue the field of art history at the School of Oriental and African Studies (SOAS), University of London, specializing in Chinese painting and ceramics, studying under Dr. Roderick Whitfield and Dr. Rosemary Scott.

In 1989 Yomei began concentrating on the practice of art and embarked upon an intensely creative journey, producing paintings, drawings, collages, photography, installations, performances, artist’s books, collections of poetry, and short stories. In 1994 she obtained a bachelor of fine art degree from the Winchester School of Art. A devout Buddhist practitioner, she also nurtures a strong interest in philosophy, psychology, mythology as well as quantum physics, the pursuit of which, along with her great love of music, film, and literature have become inextricably linked to her creative work.

Chiang Yomei lives and works in London. Her works can be found in private and public collections in Europe and Asia.