忘山 / Unforgatten, 2017

忘山系列作品@關渡美術館 KdMoFA

 

「忘山 」圍繞著我如何以繪畫的方式去面對傳統風景畫自身的歷史脈絡,因此我所面對的不是實際的自然風景,而是把以風景為題的畫作為對象。於2016年「前山」個展中,因個人的地緣關係開始以觀音山為起點,其目的透過風景與人的歷史建立起過去與當下的脈絡,更可清晰述說著,從何而來,又將由何而去。因此我開始留意風景畫的繪畫概念,如何在台灣這塊土地上被形成與建構,也回溯到十九世紀初這輩的台灣第一代畫家身上。

於創作的過程中,面對著臨摹與取其風格再創造的繪畫狀態,當中十分的使人玩味,某部分又像回到像初學者般,意圖讓思維與圖像更接近些;時而又必須跳脫框架,用個人的方式詮釋。誠如前輩畫家陳慧坤提及的繪畫經驗:「看塞尚不只看到塞尚, 一定要從看塞尚而看到自己。」註一 我同時在看塞尚也看自己的狀態下拉鋸。因此我將這樣拉鋸的狀態稱作為「忘」,即是對於繪畫狀態的形容,透過研究學習後,進而放下所學,讓它成為自己的一部分。「山」則是以風景畫與人物的歷史為寫生對象。

風景畫作為一種繪畫的題材分類,呈現畫家所看到的世界。在風景畫的世界裡,風景也是載體,承載了作者的意志與心念。因此風景畫裡一草一木都可化為特定的象徵意涵。「忘山」的作品中,出現許多芭蕉樹、觀音山、淡水的圖像,經過重新組構安排,凸顯了時代不同對於風景畫概念的差異,同時「忘」字同音「望」,也意指著該如何觀看這片風景(畫)。這之間產生與傳統風景畫脈絡的對視關係,讓風景畫不僅是風景畫,繪畫也不再只是繪畫而已。繪畫成為創作者需面對的問題,問題本身即代表藝術家思索的路徑,每張畫作都是藝術家給自己的問題,如何解決問題,變成一個很有趣的迴圈,透過創造去回應問題,再由問題去解釋為何創造 。

「臺灣美術研究講義」 謝里法著 臺灣美術史個別研究篇-(9)塞尚的研究者-陳慧坤

 

Unforgotten / Mountain revolves around the history of how I treat traditional landscape paintings with different artistic approaches. Therefore, I am not actually focus upon authentic landscapes but the landscapes in paintings. My Geophilosophical Mining in 2016 began with the landscape of Mount Guan-yin on account of my personal experience with this mountain. The collection was in an attempt to establish a synchronic display of the same landscape across the art history. These paintings reveal the story of whence we came and whither we go. From that point, I began to pay attention to the concept of how landscape paintings are formed and shaped in Taiwan and traced back to the works of Taiwan’s first generation landscape painting artists in early 19th century.

In creative process, the method of imitating and recreating certain painting at the same time is quite thought provoking. Somehow, it leads us back to become a beginner again and try to get closer to the original painting in appearance through imitation; yet, sometimes we have to think outside the box and employ personal creativity. Just as Chen Hui-kun, a senior artist, had mentioned “you should not see only Cezanne in his works but yourself as well”; it was a tug of war between me and Cezanne. Thus, I decide to name this tug of war “Unforgotten”; that is, one has to study and memorize an object of painting thoroughly and take it in by forgetting; I also add another title “Mountain” behind “Unforgotten” for it treats landscapes and the creators of landscape paintings as it subject matter simultaneously.

Landscape painting, as a genre in painting, reflects the world perceived by the artists. It also works as a carrier of an artist’s mind and intention. Therefore, each and every flower or tree in a painting might be certain symbols. There are many rearranged images or sceneries of Japanese banana trees, Mount Guan-yin and Tam-sui in Unforgotten / Mountain which implies that artists from different periods also carried different concepts and perspectives towards landscape painting. The juxtaposition of these landscape paintings offers a conversation among artists from various contexts and traditions; hence, landscape painting is not merely a landscape painting and painting itself is not the same, either. Every painting is a brainstorming question an artist has to deal with and the process of solving the problem has also become an artist’s train of thought. By asking questions to oneself, an artist tries to answer and the whole process might look like a palindrome in which answer a question by creative process and explain the creative process by asking questions.

1.Shaih Lifa (2016). Chapter 9 Personal Study of Art History in Taiwan: Chen Hui-kun, The Inquirer of Paul Cezanne. The Studying Handouts of Taiwan Arts

 

謝牧岐_Hsieh Muchi

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