- 展覽日期 ｜2019. 11. 16 – 2019. 12. 28
- 開幕時間 ｜2019. 11. 16 (Sat.) 16:00
- 展覽地點 ｜台北日動畫廊 galerie nichido Taipei
- 台北日動畫廊 galerie nichido Taipei
(創作自述 / 黃品玲)
自古以來的繪畫都是在宣告：曾經看到了什麼東西，這個東西就成為了繪畫的主題。一直以來嘗試畫出目睹可見之物(the Visible)的「體驗」， 以繪畫作為一種記錄形式，記錄視覺之外那些不可見的感受經驗。
Pin-Ling Huang : Unnamed Land
Dates｜2019. 11. 16 – 2019. 12. 28
Opening Reception｜2019. 11. 16 16:00
Venue｜台北日動畫廊 galerie nichido Taipei
galerie nichido Taipei is pleased to present solo exhibition “Unnamed Land” of artist Pin-Ling Huang. Huang Pin-ling`s works focus mainly on scenery painting. These sceneries come from places she has visited, or images that she has seen before. She internalizes and blends the fragments of memories together, and uses colors and brushes to further pile up and sort out various lines and textures which we see in her final artworks. By using a great amount of white or by leaving parts of the canvas blank, the artist is able to create different layers of relationships and details upon a flat surface, inviting the viewer to experience the dimension between reality and imagination. Not only do these imaginary sceneries convey visual feelings, but they also endeavor to express how one could face their inner-scenery calmly and relocate their own position whenever being stuck within the dilemma of reality and imagination.
(Artwork Statement / Pin-Ling Huang)
–Painting as a form of Memory–
“We who draw do so not only to make something visible to others, but also to accompany something invisible to its incalculable destination.” – John Berger, Bento’s Sketchbook
Historically, painting has long been considered the representation of what we see which forms the subjects of paintings. Seeing painting as a form of documentation means that we record feelings that otherwise would stay invisible if we simply tried to represent the visible.
Such visual documentation functions as the archive of our visual experiences. Through lenses, it accurately “remembers” the visible by capturing images of the subject developed on pewter plates. If painting is a technique to preserve fragmented memories, painters are just like cameras, whose eyes (lenses) capture the images of the subject developed in the brain (pewter plates), before being contaminated by the painters’ touch. The process is just like photography. The difference is that painters engage with emotions and memories while developing the images. Although what is painted is no longer what we saw, it stays true to the abstract perception of the painter.
In my paintings I overlap the visual experiences I have in my personal life memories, continuously capturing the abstract perception after ‘seeing’, as if creating multiple exposures on the films in my brain. For me, re-examining the sceneries that I have seen, running back and forth to my memories, is about interlacing time and space. The previous memories and the new memories overlap with each other, forming a place where I can store my thoughts but that has no name.