山 / Mountain , 2013

山系列作品@海馬迴光畫廊

 

過往的(牧岐與繪畫)作品,藉由不同作者的時間與空間,去替換單一的繪畫過程,在這脈絡下,繪畫技巧與畫面的好壞已不是重點,而是透過行為本身去重構一個可變動的創作身份。然而,此次個展回歸單純的繪畫方式,我不斷自問該用何種思緒去面對?後來發現這只是個鑽牛角尖的問題。繪畫在單一景框下有它的先天限制,但是卻也能讓作者更為真切的面對自己。

此次展出想延續上次個展《山道寫生》裡關於對山寫生的部份。寫生於現代美術教育的脈絡下,是對景物的觀察與取捨,訓練繪者如何在時間內,生動的獲取眼前的景色。因此快速、即時、片段的筆觸皆為寫生的特性。然而我截取這些特性,對山脈進行描繪。這行為已脫離了寫生面對當下景緻的情境,但以細碎的速度、筆觸,勾勒還原山脈的輪廓,畫面中的山脈於是成為一種痕跡。

讓山景成為第一人稱的象徵,畫面中的山景是對自我與自然間的詮釋,時而埋入其中,突然又可以很跳脫的觀看著全景,在沒入山林與遠觀山脈的距離間,提供一個創作者的身份。

 

In my early work, especially in “Mu-chi and Painting”, I tried to shift the singularity of painting process via swapping the time, space and authority. In this context, the composition and painting technique are no longer valuable but to reconstruct a moldable identification as an artist. However, I perform as a straight painter in this solo exhibition and still wondering how should I conclude this? Only to find out it’s a tautophonical puzzle. Painting could not break it’s own representation barrel, which is framing, but as a result this will make me to face my own nature.

I create a new dimension from my last exhibition “Sketches from Hill Road”. Under the context of modern Aesthetic education, paint from life is all about observation and adoption. Through this training, painter should be capable of capturing all the vivid scenery in the given period of time. It creates those significant strokes which shows instantaneity and fragment in most of those live sketchs. Therefore, I adapt from it and implemented on my sketch. By doing this, I am departed from the realistic scenery details but reconstruct the contour of mountain ridge using fragment and rush strokes, only to make it become vestige.

The mountain scenery in my painting mediate me and the nature and it symbolizes the distance in between forest and mountain ridge. It resembles an inter-subjectivity of me and the visual scenery.

 

謝牧岐_Hsieh Muchi

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