雲外宇韻——江大海個展 |5.12-6.10|耿畫廊

雲外宇韻——江大海個展 |5.12-6.10|耿畫廊

 

雲外宇韻——江大海個展

時間 Dates|2018.05.12–06.10
開幕 Reception|2018.05.12 (Sat.) 4:30 p.m.
地點 Venue|耿畫廊 Tina Keng Gallery


在台北的雲彩霞縷之中,藏蘊著怎樣的浩瀚穹宇?

睽違五年,耿畫廊再度攜手旅法30餘年的藝術家江大海,帶來個展「雲外宇韻」,展出江大海融貫東方文人氣韻的意景抽象繪畫——具象雲景同抽象宇韻於視點遠近間交融轉譯,引領觀者步入超脫視界外的隱匿維度;於畫中氤氳雲霧的流轉間,感受蘊藏詩意的虛空恒常。

此一奇異體驗源自中西藝術概念交融下所呈現的某種悖謬感;遠觀畫面所乘載的雲縷霧縵,觀者彷彿浸入雲氣間的模棱不清,難以一覽其中或隱或顯、或掩或現之物;近探細品,絲絲彩霞立時解構為幾近抽象的滴滴色斑——停駐其上的目光時而迷失於潑濺色點造成的視覺眩暈;時而迷失在恢弘穹宇的意想中。面對這既經驗又超驗、抽象又詩意的作品,現實的標記趨於模糊——靈巧掩藏其間的是深植於東西文化兩極的哲思,將觀者導引至一種特殊的美學思辨,同時將畫中氣宇化為一面觀照自我的映心之鏡。

江大海本人曾言:「我自風景的寫實轉化為寫意,之後到現代,一點點地變化。中國山水畫及藝術精神所追求的境界也是具有這種抽象精神的。它更為朦朧;更為混沌;更為一種不確定性;更關注畫面的精神意味…… 其中宏大壯闊的氣勢,或是寧和平淡的意境,那種神秘的感受,淡泊的情感和山水氣韻合一,讓人感到自身能溶進和把握整個宇宙!」

首次亮相的新作《台北的雲》系列,便以繪寫虛空雲景的意景抽象,將畫作的閱讀感知擺盪於具象與抽象之間──彷彿正隱入虛無的朦朧霧靄,恰恰浮現於可見邊界;走近細探,眼前滴滴灑落的疊加色點,倏然化作無數星辰銀河,將觀者引入雲氣繚繞的心識宇宙。而所有台北人熟悉而又陌生的萬變雲彩,同時透寫著藝術家烙印於靈魂的杳杳鄉愁;與台灣淵源極深的江大海,多次在台北發表創作,並曾於國立歷史博物館舉辦大型回顧展「東雲西漸」。台灣於江大海心靈情感的連結,已然滲入超越覺知的意識核心──一如其凝結於畫面的瞬逝光韻,無所不在地瀰漫滿是氤氳霞縷的台北天空

經典系列《場》、《曦》、《升騰》等作,以深沉飽滿的綿密色彩點染鋪疊,畫面滿溢的迷離氤氳之氣,彷彿東方水墨的酣暢意寫;對熟悉中國傳統潑墨山水的觀者而言,如此景致氛圍,頗有五代至南北宋時期的瀟湘山水之趣,將感知推向一場心絮漫遊。而畫作《風雲》──靜深夜空裡的極光一閃,近觀則由點點色滴綴染鋪織組構,彷彿繪寫著穹宇間的點點星體;遠近之間,直令觀者超脫身處空間維度,進入隨心漂流的浩渺虛空。

2016年底, 擁有歐洲地區最大的亞洲藝術典藏之一的法國吉美亞洲藝術博物館邀請江大海舉辦特展,策展人亨利-克洛德·顧索 (Henry-Claude COUSSEAU)如此描述:「江大海的畫作或許會被視作極簡主義的一個變體。這不過是表象的迷惑罷了──與波洛克富於節奏感和舞蹈性、如同地震波一般的潑濺手法大相逕庭,更不同於他曲折蜿蜒、厚重滴淌的痕跡,江大海的滴畫產生了半透明的懸浮感。此時,不再有毛筆或畫刷迷醉而感性的控制,而如同旱地迎雨露的恩澤,又好似雨打芭蕉的優雅,那正是中國文人在窗邊靜聽的天籟。」

關於江大海

旅居法國長達三十年,江大海作品多以雲為題材;呈現的綿密色彩點染及鋪疊,給觀者迷離的氤氳或水氣的錯覺,畫中的雲煙名副其實地是以抽象的點彩綴染鋪織而成,點彩中充滿著不規則的柔軟及偶然的趣味性。對熟悉中國山水畫傳統的觀者而言,所表現的景致與氛圍,頗有五代至南北宋時期的瀟湘山水之趣。而先解構而後重建的筆墨意趣,將傳統繪畫題材和抽象理論結合,融匯東方美學涵養與西方色彩理念;極富詩意的抽象作品,揭示其對於美學與哲學的再詮釋。

江大海,1946年生於南京,1986年畢業於中央美術學院油畫系研究生班後任教該校,而後赴法留學,入巴黎國立高等美術學院。曾於中國美術館機構舉辦多次個展,近年參與的大型展覽有2016年於法國吉美亞洲藝術博物館的「江大海個展」以及2015年於台灣國立歷史博物館的「東雲西漸—江大海回顧展」等展。

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What vast universe is stored within Taipei’s prismatic clouds?

After five years of anticipation, Tina Keng Gallery has once again joined with artist Jiang Dahai, French-based for the past three decades, to bring forth the solo exhibition Beyond the Clouds. The exhibition showcases the artist’s conceptual abstract paintings that are coherent with the spirit of Eastern literati – the figurative cloudscapes and the abstract universal rhythm merge and transform at the point where the visual perspective shifts from the near to afar, guiding the viewer to enter a dimension that transcends the visual field, to perceive illusionary and the constancy of the embodied poetics within the turns and flow of the enshrouding mists and clouds.

This alien experience originates in a certain sense of aporia presented by the amalgamation of Eastern and Western artistic concepts. The viewer seemingly becomes immersed in an ambiguous obscurity within the columns of clouds and meandering mists portrayed in the distance, unable to discern what is hidden or revealed, overt or implied. On closer detailed inspection, the strands of prismatic clouds deconstruct into near-abstract drops of spotted color. The gaze that temporarily rests on the painting is at times lost within the visual vertigo created by the splashed spots of color; at other times lost within the splendorous visualization of a vast universe. In confronting this work that is both experiential and transcendental, both abstract and poetic, the earmarks of reality tend toward the ambiguity. Cleverly concealed within are philosophies deeply embedded in the two extremes of Eastern and Western culture, guiding the viewer toward a unique aesthetical contemplation, while transforming the nebulous universe within the painting into a mirror reflecting the self.

Jiang Dahai once said, “I have made the transformation from realistic landscapes to a freehand style, then arrived bit-by-bit at modernism. The realm aspired to by the artistic essence of Chinese shanshui paintings also possesses this abstract spirit. It is even more obfuscated and murky, more of an uncertainty, more concerned with the spiritual significance of the imagery… Its grand majestic momentum or serene and equable conception: the intellection of shanshui becomes one with the mystical sense and temperate sentiment, enabling viewers to feel as though they have become enveloped within and are able to grasp the entire universe!”

The debut of the new series Taipei’s Clouds pendulates perceptive readings of the work between the figurative and the abstract through the conceptual abstract depiction of illusive cloudscapes; as though concealed within the illusory mist and haze, emerging on the edge of the perceivable; moving in for closer inspection, the overlapping droplets of color dots transmute into infinite stars and galaxies, leading the viewer into a universe of consciousness swirled within clouds and mist. The somber nostalgia deeply imprinted on the artist’s soul is written in the ever-changing colorful clouds that are simultaneously familiar and strange to the inhabitants of Taipei. With his deep roots in Taipei, Jiang Dahai has unveiled his work in Taipei a number of times, including the large-scale retrospective The Westward Journey of Eastern Art at the National Museum of History. Taiwan has penetrated the core of transcendental consciousness in Jiang Dahai’s spiritual and emotional connections – just as the ephemeral light crystallized in the paintings, filled with the omnipresent diffusion of the misty vaporous clouds of Taipei’s skies.

Through the deep, full-bodied, densely laid colors in classical works such as the 場 (Arena), 曦 (Twilight), and 升騰 (Ascent) series, the paintings overflow with an air of haze and mist and the unrestrained abandon of Eastern brush and ink painting. For those familiar with the Chinese traditional po mo landscapes, these atmospheric scenes that push the perceptions toward a soulful sojourn hold an elements of allure similar to that of Hunan shanshui of the Five Dynasties period to the Southern and Northern Song era. In the work風雲 (Gathering Storm), the bright flash of aurora across the deep night sky is woven and tinted with dots of color on close viewing, as though writing the points of starlight in the vast universe. The viewer transcends physical spatial dimensions and enters, drifting and unfettered, into the expansive void.

With one of the largest collections of Asian art in Europe, the Musée National des Arts Asiatiques Guimet in France invited Jiang Dahai to hold a special exhibition at the end of 2016. Curator Henry-Claude Cousseau gave this description: “These paintings might be taken for a minimalist variation. But appearances are deceptive. […] We are far from Pollock’s rhythmic, seismographic and lilting splatters, or his sinuous, thick rivulets of streaks – here is the polar opposite, with its translucent, suspended qualities. We are no longer looking at the possessive and sensual deployment of a brush rendered drunken, but at the grace of the fall of a droplet of water on dry earth, at the refinement of the rain falling on ba jiao leaves, whose delicate music Chinese scholars like to listen to at their windows.”

About Jiang Dahai
Clouds are a recurring theme in the works of Jiang Dahai, who has lived in France for thirty years. The finely dotted and layering of color creates an illusion of bewildering mist or vapor for the audience. Woven abstract pointillist dots of color construct the cloudy haze. These points of color are softened by their irregularity, and made alluring by their random occurrence. For viewers familiar with the traditions of Chinese shanshui painting, the atmospheric scenes expressed have an allure similar to that of Hunan shanshui of the Five Dynasties period to the Southern and Northern Song era. The appeal of first deconstructing and then reconstruction brushstrokes combines the themes of traditional painting with abstract theory, amalgamating the cultivation of Eastern aestheticism with Western color theory; the richly poetic abstract works reveal a reinterpretation of aesthetics and philosophy.

Jiang Dahai was born in Nanjing, China, in 1949. After studying and teaching at Department of Oil Painting in Central Academy of Fine Arts of Beijing in 1986, he moved to France to pursue further studies at the École Nationale Supérieure des Beaux-Arts. He has held numerous solo exhibitions at museum institutions in China, and major exhibition in recent years include the Carte Blanche à Jiang Dahai at the Musée National des Arts Asiatiques Guimet in France in 2016, and the The Westward Journey of Eastern Art: A Retrospective of Jiang Dahai at the National Museum of History in Taiwan in 2015.