並置 Ｘ 位離 曲德義個展
並置 Ｘ 位離 - 曲德義 個展
展期：2019/09/03 (二)- 2019/11/30 (六)
展覽茶會：2019/09/07 (Sat.) 15:00
藝術家 : 曲德義
Juxtaposition Ｘ Dislocation — Chu Teh-I Solo Exhibition
Venue: InArt Space, Tainan, Taiwan
Date: 2019/09/03 (Tue.)- 2019/11/30 (Sat.)
Tea Party: 2019/09/07 (Sat.) 15:00 pm
Artists: Chu Teh-I
重構抽象 ~ 閱讀曲德義
藝評家 / 陶文岳
曲德義始終認為「如果繪畫太成熟，技巧太清楚，一般人會不斷的重複自己，但藝術家應該要有打破這些慣性的勇氣。」他本著挑戰與開拓自己視野於1978年留學巴黎，並在1983 年、1984 年先後獲得法國巴黎國立高等設計學院美術設計碩士學位和法國巴黎國立高等美術學院造型美術碩士學位。特別是他就讀於巴黎國立高等設計學院時，受教於旅法華裔著名抽象畫大師趙無極，趙氏曾對曲德義說：「抽象繪畫有分“繪畫性”與“符號性”，你要選擇其一來表現。」但對藝術創作有反骨精神的曲德義反而乾脆融會兩者來創作表現，也形成日後其作品兼具理性與感性的抽象特別風格。
Reconstructing the Abstract- Reading Chu Teh-I
Text/ Tao Wen-Yueh (Art Critic)
Disciples of Li Chun-shan, who was acclaimed as “the mentor of Taiwan’s modern painting,” have developed individual unique artistic styles. Among which, Chu Teh-I is definitely a figure on top of Li’s outstanding disciples since he is an artist and educator. He has worked as the professor, dean, and director of School of Fine Arts, the director of School of Film and New Media, and the director of Kuan Du Art Museum at Taipei National University of the Arts. He is also an active key figure enhancing the exchange between Taiwan and international art. Li Chun-shan’s one-on-one tutoring and his significant motto, “draw what you never draw before, think about what hasn’t come to your mind. Break your inertial thinking,” enable Chu to develop his unique and exclusive style in painting.
Chu The-i always believes, “if one has fully developed his painting style with specific skills and techniques, he might constantly repeat similar works. However, artists should obtain the courage to break their habits.” With thechallenges and the determination to broaden his horizon, he studied abroad in Paris in 1978, and has accomplished the Diploma of Decorator with the specialization in plastic arts and painting in the École nationale supérieure des Arts Décoratifs and the Superior Diploma of plastic arts in the Ecole Nationale Supérieure Des Beaux-Arts De Paris in Paris, France, respectively in 1983 and 1984. While he was studying in the École Nationale Supérieure des Arts Décoratifs, he was instructed by Zao Wou-ki, the France-based Chinese painter in abstract painting. Zao had once told Chu Teh-i that “abstract paintings include two-fold, the painterly representation and symbolic representation; and you must follow one of them.” However, with the rebellion in mind, Chu tends to integrate the two approaches and thus forms a unique abstract style of both rationality and sensibility in his works.
In terms of artistic practices, abstract paintings should give credit to spontaneous representation. Chu wished to turn the “spontaneity” into the “certainty” with the interconnections made by artists’ consciousness. He once pondered why he took the way of abstract paintings. It has to do with his background: Chu Teh-i was born in Korea and came to Taiwan, and later France, for study. He constantly traveled, lived, or studied among the three countries without a fixed position, which formed a displacement of space for him. These factors eventually are reflected in Chu’s paintings.
Chu claims, “I have been trying to find out certain possibilities of painting to remove the limitation of the frames for canvas paintings. Regular paintings of both lyrical abstraction and geometric abstraction follow existing canvas sizes; however, I would add another canvas. On the surface, I’m still following the traditional abstract paintings. The additional part does not simply break the existing forms but also absorb individual thinking and contemporary qualities.”
Chu Teh-i is invited to present his solo show “Juxtaposition x Displacement” in INART‧SPACE in Tainan from September 3 to November 30, 2019. This solo shows shed a new light that Chu believes the oriental presentation of space and materials is somewhat different from the Occidental practices. He managed to work on alternative abstract paintings with Western materials. He thinks that “Abstract paintings are an international representation of the painting. Korea’s Dansaekhwa (monochrome painting) and Japan’s Gutai avant-garde art movement are celebrated as significant figures; however, what style can represent the idea of Taiwan’s abstract paintings?” In fact, he has been trying to seek for the possibility for the development of abstract painting as he breaks the limitation of frame sizes for painting with additional canvas. Along with the fluidity of abstract painting creations and the integration of the representation of forms and colors, these factors make the displacement visible and form the visual tension as well.
“I’m still trying to seek for the future possibilities of abstract painting, although these uncertainty, fluidity and uncontrollable factors may take place during the process of creation; however, I can still manage all of them, and this is why creation is with so much fun,” Chu remarks.