穿梭之間:2018薛保瑕個展|9.29-12.9|耿畫廊

穿梭之間:2018薛保瑕個展|9.29-12.9|耿畫廊

 

穿梭之間:2018薛保瑕個展
Between Shuttles: 2018 Solo Exhibition of Ava Hsueh

展期 Dates|2018.09.29 – 2018.12.09
地點 Venue|耿畫廊 Tina Keng Gallery
開幕 Opening Reception|2018/09/29 (Sat.) 4:30 p.m.
開幕致詞嘉賓 Guest Speaker|千葉成夫 Chiba Shigeo
更多資訊more information|www.tinakenggallery.com


「如何以抽象語彙回應當今的現實,一直是我的藝術課題。作為一位創作者,由歷史中學習;在當下接應現實;更在想像中望向未來……於此,時間流並非單向,而總是往返穿梭於多個節點—這樣的情境,也是我創作時的狀態。」
— 藝術家 薛保瑕

仲秋初涼之際,耿畫廊帶來薛保瑕個展「穿梭之間」,展出其近三年間抽象繪畫新作;延續自2004年藝術家於文本的鑽研解構,以及對抽象於當代藝術中前進位置的思索;自色光的漸進映出帶有「溫度」的觸覺,以由簡至繁的層疊線條,將感知意識中“實質空間”和“運動空間”的律動展延具現;於色彩和結構的段落篇章間,連結觀者神經元的感知系統與認知描述,串流橫跨理性與感性的閱讀導向。

如藝評家高千惠所述,薛保瑕於抽象的藝術探索,不僅只在形式與構成的選擇間停留—於畫面穿梭的書法式墨線,同浮世繪般的飽和油彩線色交融;以顏料光澤與溫感、線與面所交疊出的意象維度內,是可見與不可見的時空景深;是東方與西方韻味的層次組構;更是美學與意識空間的逐漸擴張,於繪畫藝術的抽象構成轉譯嫁接感知體驗的一瞬之光,如露,亦如電。

若然深入論述核心探索薛保瑕的抽象藝術,則成為一場透過媒材物性、繪畫結構觀照五感覺知的行旅。藝評家高千惠如是解析—對現代主義脈絡的創作者而言,美學探究往往是一種視覺與哲學的行動推衍。德國哲學家海德格於《藝術作品的本源》論述中曾言,藝術創作雖離不開物性,但最終決定藝術作品本質的,總是超於物性的因素。薛保瑕始於連結文本與不斷自我閱讀的抽象創作,便讓繪畫得以藉由視覺為媒介,譜寫五感無法捕捉的事物—藝術家細膩梳理媒材自身物象紋理,解構所有可見可感之物的結構述說,於畫布上線色交會的二維空間中著墨一種「似-景觀」的構圖伏筆;而冷暖色系的揮灑,更引導著記憶與感知的迴旋,勾勒觀看體驗的心理情感;在反映油彩飽和物性與繪畫性的同時,繪寫空間層次與創作者意識交織的之間狀態。尋此線索,觀者得以進入藝術發生的背景與現場,一探薛保瑕長期透過身體行動,於抽象表現藝術、行動繪畫與觀念辯証的遊走過程;閱看中所具現的身體感與其創作的能動關係,便引文般地成為獨立繪畫文本之外,連結藝術家身體意識的行動附錄。

日本著名藝評家千葉成夫如此評論:「薛保瑕的作品,一方面採取滿佈畫面的手法;一方面又找到滿佈畫面的破綻。她將自己的身體編織成畫面──我有這種感覺,與其說是以繪畫的方式呈現,不如說是種『被實踐的存在』。也可以說,平面的繪畫於此以一個「構造」的實體被呈現。如果說波洛克的繪畫是透過身體水平方向的移動來表現空間深度的幻覺,那麼薛保瑕就是透過繪畫的『構造』來實踐畫面中的空間。透過她的關注,成為作品的內容。自我的精神和心靈如何和世界接軌?世界又如何影響著自身的精神和心靈?」

「站在這種作品前,我的視覺便開始膨脹──並不是全身都變成了眼睛,而是視覺能引導整個身體的感覺去體會畫面中的「構造」,並啟動超越五感的能力。在她作品深處流動著的意圖,指出了抽象繪畫並非單純的造形創作,她將抽象繪畫帶往另一個高度。缺少了這個,單靠平面抽象繪畫、單靠透視法、單靠幻覺主義,抽象繪畫只會被囊括進某個『主義』之下就終結了。至今為止的抽象繪畫,到如此嘗試出現之前的創作可能只能稱作是抽象繪畫的暖身而已,真正的抽象繪畫,從薛保瑕這樣的嘗試開始,正要啟動。」

薛保瑕堅守探討抽象藝術的理念,以抽象繪畫引領閱看者穿梭抽象符號與意識認知的《之間狀態》,進入溢出五感覺知的《越界空間》,透過藝術家留存於畫布上的曾經「此在」,於《空間介質》的餘音迴響中,步入藝術的所在。

藝術家 薛保瑕
1956年生於臺中臺灣,美國紐約大學教育學院藝術博士。現任國立臺南藝術大學榮譽教授。曾任國立臺灣美術館館長、財團法人國家文化藝術基金會執行長,國立臺南藝術大學視覺藝術學院院長、藝術創作理論研究所博士班專任教授暨所長,和國立臺南藝術學院國際藝術交流研究中心主任等。長久以來選擇以抽象語彙做為藝術創作的表現形式,作品主要以冷熱兩種抽象符號表現混合性的現實,並因應時代的改變進一步探討當代抽象藝術的特質。其作品多次於臺灣、中國、美國、法國、義大利、韓國,和日本等地展出。作品為國立臺灣美術館、台北市立美術館、高雄市立美術館、北京中國美術館、澳洲白兔美術館等機構典藏,以及私人收藏等。


“How to respond to present reality through an abstract vocabulary has always been the core of my practice. As artists, we often learn from history and embrace the present in the moment, whilst looking to the future in our imagination. Accordingly, time flow is not unidirectional but by contrast, shuttles back and forth between numerous intersections. This echoes my state of mind when I make art.”
—— Artist Statement by Ava Hsueh

This mid-Autumn Tina Keng Gallery will present Ava Hsueh’s solo show Between Shuttles, showcasing the new abstract works developed over the course of the past three years. The exhibition expands upon Hsueh’s study and reconstruction of text since 2004, taking into consideration of the position and direction abstract art takes in contemporary art. Her works capture a progressive reflection of color shades that comes with a tactile element of temperature. The layers of lines, with their form from simple to complex, bolster the rhythm experienced by the cognitive perception of the “substantial space” and the “moving space.” In between color and compositions, the works connect with the viewer’s cognitive neurons to formulate impressions and to further streamline the readings of her works which transcend beyond both sense and sensibility.

The experience of reading Hsueh’s woks from a theoretical framework in turn becomes a journey initiated from the five senses – a journey anchored on the inherent thingness of painting. Aesthetic exploration often comes in the form and action of visual and philosophical deduction, for those artists that have their roots in a modernist context like Hsueh. German philosopher Martin Heidegger discusses in his essay “The Origin of the Work of Art,” while artwork cannot escape its thingly nature, its essence that define art is determined by factors beyond such thingness.

As art critics Kao Chien-Hui described, Ava Hsueh’s quest of abstract art resides not simply in the choices of form and composition. It manifests in the calligraphic ink lines that travel across the canvas and in a mixture of lines and lush colors reminiscent of Japanese ukiyo-e arts. What lies behind the dimension of imageries are the visible and invisible depth of temporal and spatial fields, achieved through her interweaving of the pigment’s luster and warmth with lines and surfaces. Layered compositions blending the charm of both the East and the West are intrinsic to her works. A gradual expansion of aesthetics and conscious space only becomes cognizant, once the abstract composition meet in the viewer’s perception, giving a sensation that resembles both the dew and a flash of lightning.

Hsueh’s works, which begins with a constant correlation of texts and an act of self-reading, enable her painting to portray the uncapturable that escapes the senses. As she aims to trigger a fundamental change in perception for the viewer, Hueh deals with the textures of the medium, in order to deconstruct the formal narratives of the visible and the palpable. In the two dimensional space where lines and colors meet on her canvas, there is a pseudo-landscape compositional structure, working hand in hand with the unrestrained use of cold and warm color tones to direct the viewing experience that is stemmed from a psychological and emotional sensation. While reflecting the materiality and the painterly quality instigated by the use of saturated color schemes, her works create a sense of space through the craft of composition. The works of art produced, besides being an independent work, become also referential to the artist’s physical consciousness and action.

Japanese renowned critics Shigeo Chiba commented on Hsueh’s practice: “I get the sense that her works, especially the recent ones, are spun from her very flesh, whether they are all-over paintings or ones with ruptures in the all-over. It is not so much painted but as a ‘realized presence.’ Otherwise put, paintings, which are flat surfaces, generate a structure in a substantial form. If Jackson Pollock’s paintings tended rather to express an illusion of depth through physical flows in horizontal directions, Hsueh’s paintings realize space as a structure, which further becomes the content of her works through her practice – asking how one’s mind and soul confront the world? How does the world move one’s mind and soul?”

He continues, “When I stand before such a work, my vision expands in some sense. I do not mean that I become all eyes, but that my vision adjusts to the work’s structure by assimilating the senses of my whole body, and exercises an extrasensory faculty. The directionality which runs at the heart of Hsueh’s work elevates abstract painting to something higher than the mere creation of forms. Without this — with mere flat abstraction, mere perspective, mere illusionism, and nothing else — abstract painting ends up being just another ‘ism.’ It could perhaps be said that abstract painting until now was a sort of ‘prelude’ to experiments such as Hsueh’s. It could be said that real abstract painting begins here, with experiments like hers.”

Artist Ava Hsueh
1956 born in Taichung, Taiwan. Prof. Ava Hsueh obtained her D.A. degree in Arts from New York University, currently serves as the Honorary Professor in Tainan National University of the Arts. She has been appointed as the Director of National Taiwan Museum of Fine Arts, Chief Executive of National Cultural and Arts Foundation, and has served as the Dean of the College of Visual Arts, the Chair of the Doctoral Program in Art Creation and Theory in Tainan National University of the Arts. Prof. HSUEH has long chosen abstract language as her expression of artistic creation. Her art works are mainly constituted by biomorphic abstraction and geometric abstraction to express a hybrid reality, whose mixture and adjustment correspond to epochal shifts and the characteristic of contemporary abstract art. Also her work has been exhibited in many venues around the world, including Taiwan, China, U.S.A., France, Italy, Korea, Japan, etc. Prof. HSUEH’s works have been widely collected, including National Taiwan Museum of Fine Art, Taipei Fine Arts Museum, Kaohsiung Museum of Fine Arts, National Art Museum of China(Beijing), White Rabbit Museum(Australia) , private collection and etc.