范姜明道 個展 盆栽
Minto Fang “Bonsai’’ Solo Exhibition
范姜明道《盆栽2009》個展
Minto Fang “Bonsai 2009’’ Solo Exhibition
當藝術家把對大自然的嚮往投射於作品中，即使是盆栽，一草一木都能無盡悠遠，另成一方天地。藝術家范姜明道近年落腳北京，早年批判拜金主義與物質依賴發表《點子/Dots》系列作品，透過不同場域以麥草鋪陳出對原始自然的想像與回歸。近期《盆栽/Bonsai》與《阿草/A-Cho》系列，范姜明道雖改以多樣貌的形式關懷人文自然，但對心靈精神回溯與美感情調的追求依然堅持。范姜明道這次的展覽以《盆栽》為題。《盆栽》系列把他所關注的議題推向一個更富人文精神與詩性抒情的境界。平面繪畫中簡潔的線條建構出自然況味，水平線讓自然植物在戶外與室內造景兩者中能平和過渡與移轉，室內場景中的水平線則對應天地之線，以有象度形式描繪出無窮萬象。盆栽立體作品則擷取樹幹，雕琢出枝幹原有的線條。原取自森林的大樹能雕成小盆栽；而小盆栽移植至自然中亦能長成大樹。萬事萬物樣貌不一，但外在形象只是一種復返與衍異，變與不變終不離其真切本質。
《阿草》系列為早年《點子》作品的延續，《阿草》的簡約造型是人與自然的對話，以最為簡單的語彙互通感知，並以低限手法建構出一個均質化卻可層層推移的場域，由點至面，就像一粒種子蔓生成一片草原，一次的風吹草動即可觸動一個無遠佛屆的波動運行。
范姜明道顛覆既有盆栽的概念，盆栽方寸之內還可能滋養什麼? 是留連外面那片花花世界後的反璞歸真？還是一種心靈回歸？ 2009年春天范姜明道將在「inart space‧加力畫廊」舉辦“盆栽2009”個展，以單一的元素運作一個不斷增生的生命體。一盆栽，一宇宙。一株植物一方天地，一吋枝脈延展是一次靈光的乍現。觀者將可透過這次展覽悠游於盆栽內的那方小天地，並照見有限生命中的無限可能。
When an artist puts his or her longing for nature into his or her work, even if it isjust a simple bonsai tree, each stick and leaf has limitless potential for imagination,each tree has the ability to constitute a whole universe in itself. The artist Minto Fang,who in recent years has been living in Beijing, started early in his career with the“Dots” series that criticizedmoney worship and materialism. The “Dots” seriesemployed wheat blades, tailored to different exhibition spaces, to evoke in ourimaginations a state of nature long ago, bringing us back to the simplicity of nature inits primitive state. In his recent “Bonsai” and “A-Cho” series, although he has adopteddifferent, more multifaceted forms to express his concern for the human condition andnature, there is the same insistence on evoking emotional and psychological reactionsin the heart and mind through the creation of aesthetic atmospheres.
Minto Fang has chosen “Bonsai” as the theme of this exhibition. The “Bonsai”series, which includes both two-dimensional oil paintings and three-dimensionalworks, continues the themes about which he has been concerned in the past, but takesthem to a higher level of poeticism, emotion, and richness of spirit. The clean andsimple lines in the two-dimensional paintings bring out in the viewer a mood orreaction like seeing nature itself. Horizontal lines in these paintings—imagined asinterior lines (walls, tables, floors) or, alternatively, as the exterior naturalhorizon—create the potential for plant life to traverse the barrier between being anelement of interior design (like a house plant) as opposed to an element of nature’s
landscape. Though the lines are measurable in a prosaic sense, if we see them in ourminds sometimes as interior lines and then sometimes as exterior horizon, this opensup to the viewer wide possibilities for imagination.
The three-dimensional works in “Bonsai” start with tree trunks, which are carvedinto stylized forms of an actual living tree with its own trunk and branches. A large
tree from a natural forest can be carved into a small bonsai plant, yet a bonsai treetransplanted into nature can grow into a large tree. Although the things of naturepresent an endless variety of appearances to us, their basic nature remains unchanged;they mere cycle through and evolve into different forms, but they can never departfrom their core nature, just as we have our simpler, inner natures to which we canreturn.
The “A-Cho” series is an extension of the early “Dots” works. Put(But) simply, thebasic idea of “A-Cho” is a dialogue between man and nature, communicating feelings
and understandings back and forth in the simplest of vocabularies. It employs a “neo-minimalist” approach—just a simple motif or element repeated over and over—toconstruct a visual space. This space, although uniform in substance (that is, in thematerials used), carries the viewer out and away—layer upon layer—far beyond the
confines of the space itself. The effect is like that of a breeze blowing over a uniformmeadow, a meadow that has spread out from a single seed, creating a wave motion inthe grass that carries on until it disappears from view in the endless distance.Minto Fang turns the prevailing concept of bonsai upside down. Within thedimensions of a bonsai, what else can grow and be nourished? Does it represent arejection of the
當藝術家把對大自然的嚮往投射於作品中，即使是盆栽，一草一木都能無盡悠遠，另成一方天地。藝術家范姜明道近年落腳北京，早年批判拜金主義與物質依賴發表《點子/Dots》系列作品，透過不同場域以麥草鋪陳出對原始自然的想像與回歸。近期《盆栽/Bonsai》與《阿草/A-Cho》系列，范姜明道雖改以多樣貌的形式關懷人文自然，但對心靈精神回溯與美感情調的追求依然堅持。
范姜明道這次的展覽以《盆栽》為題。《盆栽》系列把他所關注的議題推向一個更富人文精神與詩性抒情的境界。平面繪畫中簡潔的線條建構出自然況味，水平線讓自然植物在戶外與室內造景兩者中能平和過渡與移轉，室內場景中的水平線則對應天地之線，以有象度形式描繪出無窮萬象。
盆栽立體作品則擷取樹幹，雕琢出枝幹原有的線條。原取自森林的大樹能雕成小盆栽；而小盆栽移植至自然中亦能長成大樹。萬事萬物樣貌不一，但外在形象只是一種復返與衍異，變與不變終不離其真切本質。
《阿草》系列為早年《點子》作品的延續，《阿草》的簡約造型是人與自然的對話，以最為簡單的語彙互通感知，並以低限手法建構出一個均質化卻可層層推移的場域，由點至面，就像一粒種子蔓生成一片草原，一次的風吹草動即可觸動一個無遠佛屆的波動運行。
范姜明道顛覆既有盆栽的概念，盆栽方寸之內還可能滋養什麼? 是留連外面那片花花世界後的反璞歸真？還是一種心靈回歸？ 2009年春天范姜明道將在「inart space‧加力畫廊」舉辦“盆栽2009”個展，以單一的元素運作一個不斷增生的生命體。一盆栽，一宇宙。一株植物一方天地，一吋枝脈延展是一次靈光的乍現。觀者將可透過這次展覽悠游於盆栽內的那方小天地，並照見有限生命中的無限可能。
When an artist puts his or her longing for nature into his or her work, even if it isjust a simple bonsai tree, each stick and leaf has limitless potential for imagination,each tree has the ability to constitute a whole universe in itself. The artist Minto Fang,who in recent years has been living in Beijing, started early in his career with the“Dots” series that criticized money worship and materialism. The “Dots” seriesemployed wheat blades, tailored to different exhibition spaces, to evoke in ourimaginations a state of nature long ago, bringing us back to the simplicity of nature inits primitive state. In his recent “Bonsai” and “A-Cho” series, although he has adopteddifferent, more multifaceted forms to express his concern for the human condition andnature, there is the same insistence on evoking emotional and psychological reactionsin the heart and mind through the creation of aesthetic atmospheres.
Minto Fang has chosen “Bonsai” as the theme of this exhibition. The “Bonsai”series, which includes both two-dimensional oil paintings and three-dimensionalworks, continues the themes about which he has been concerned in the past, but takesthem to a higher level of poeticism, emotion, and richness of spirit. The clean andsimple lines in the two-dimensional paintings bring out in the viewer a mood orreaction like seeing nature itself. Horizontal lines in these paintings—imagined asinterior lines (walls, tables, floors) or, alternatively, as the exterior naturalhorizon—create the potential for plant life to traverse the barrier between being anelement of interior design (like a house plant) as opposed to an element of nature’s
landscape. Though the lines are measurable in a prosaic sense, if we see them in ourminds sometimes as interior lines and then sometimes as exterior horizon, this opensup to the viewer wide possibilities for imagination.
The three-dimensional works in “Bonsai” start with tree trunks, which are carvedinto stylized forms of an actual living tree with its own trunk and branches. A largetree from a natural forest can be carved into a small bonsai plant, yet a bonsai treetransplanted into nature can grow into a large tree. Although the things of naturepresent an endless variety of appearances to us, their basic nature remains unchanged;they mere cycle through and evolve into different forms, but they can never deparfrom their core nature, just as we have our simpler, inner natures to which we can return.
The “A-Cho” series is an extension of the early “Dots” works. Put(But) simply, thbasic idea of “A-Cho” is a dialogue between man and nature, communicating feelingsand understandings back and forth in the simplest of vocabularies. It employs a “neo-minimalist” approach—just a simple motif or element repeated over and over—toconstruct a visual space. This space, although uniform in substance (that is, in the materials used), carries the viewer out and away—layer upon layer—far beyond the confines of the space itself. The effect is like that of a breeze blowing over a uniform meadow, a meadow that has spread out from a single seed, creating a wave motion inthe grass that carries on until it disappears from view in the endless distance.
Minto Fang turns the prevailing concept of bonsai upside down. Within thedimensions of a bonsai, what else can grow and be nourished? Does it represent arejection of the complex world of human relationships and a rediscovery of simplicityand child-like innocence? Is it a refuge to which our spiritual selves can return? Minto Fang’s “Bonsai 2009” Solo Exhibition, held at the “inart space” gallery, working from a single ingredient, generates a life force that is endlessly vigorous and growing. Onebonsai, one universe. A whole world, from creation to destruction, birth and death,can be seen within a single plant. And in the extension of a branch by a single inch
can be seen a metaphor for the growth of our own creativity, “branching out” from ourthoughts and past experiences. Through this exhibition, viewers can enjoy a journey
through the miniature universe within each bonsai, and be witness to the limitlesspossibilities inherent in this time-bounded thing we call “life.” world of human relationships and a rediscovery of simplicityand child-like innocence? Is it a refuge to which our spiritual selves can return? Minto Fang’s “Bonsai 2009” Solo Exhibition, held at the “inart space” gallery, working froma single ingredient, generates a life force that is endlessly vigorous and growing. One bonsai, one universe. A whole world, from creation to destruction, birth and death,
can be seen within a single plant. And in the extension of a branch by a single inchcan be seen a metaphor for the growth of our own creativity, “branching out” from our thoughts and past experiences. Through this exhibition, viewers can enjoy a journey through the miniature universe within each bonsai, and be witness to the limitless possibilities inherent in this time-bounded thing we call “life.”
《阿草》系列為早年《點子》作品的延續，《阿草》的簡約造型是人與自然的對話，以最為簡單的語彙互通感知，並以低限手法建構出一個均質化卻可層層推移的場域，由點至面，就像一粒種子蔓生成一片草原，一次的風吹草動即可觸動一個無遠佛屆的波動運行。
范姜明道顛覆既有盆栽的概念，盆栽方寸之內還可能滋養什麼? 是留連外面那片花花世界後的反璞歸真？還是一種心靈回歸？ 2009年春天范姜明道將在「inart space‧加力畫廊」舉辦“盆栽2009”個展，以單一的元素運作一個不斷增生的生命體。一盆栽，一宇宙。一株植物一方天地，一吋枝脈延展是一次靈光的乍現。觀者將可透過這次展覽悠游於盆栽內的那方小天地，並照見有限生命中的無限可能。
When an artist puts his or her longing for nature into his or her work, even if it isjust a simple bonsai tree, each stick and leaf has limitless potential for imagination,each tree has the ability to constitute a whole universe in itself. The artist Minto Fang,who in recent years has been living in Beijing, started early in his career with the“Dots” series that criticizedmoney worship and materialism. The “Dots” seriesemployed wheat blades, tailored to different exhibition spaces, to evoke in ourimaginations a state of nature long ago, bringing us back to the simplicity of nature inits primitive state. In his recent “Bonsai” and “A-Cho” series, although he has adopteddifferent, more multifaceted forms to express his concern for the human condition andnature, there is the same insistence on evoking emotional and psychological reactionsin the heart and mind through the creation of aesthetic atmospheres.
Minto Fang has chosen “Bonsai” as the theme of this exhibition. The “Bonsai”series, which includes both two-dimensional oil paintings and three-dimensionalworks, continues the themes about which he has been concerned in the past, but takesthem to a higher level of poeticism, emotion, and richness of spirit. The clean andsimple lines in the two-dimensional paintings bring out in the viewer a mood orreaction like seeing nature itself. Horizontal lines in these paintings—imagined asinterior lines (walls, tables, floors) or, alternatively, as the exterior naturalhorizon—create the potential for plant life to traverse the barrier between being anelement of interior design (like a house plant) as opposed to an element of nature’s
landscape. Though the lines are measurable in a prosaic sense, if we see them in ourminds sometimes as interior lines and then sometimes as exterior horizon, this opensup to the viewer wide possibilities for imagination.
The three-dimensional works in “Bonsai” start with tree trunks, which are carvedinto stylized forms of an actual living tree with its own trunk and branches. A large
tree from a natural forest can be carved into a small bonsai plant, yet a bonsai treetransplanted into nature can grow into a large tree. Although the things of naturepresent an endless variety of appearances to us, their basic nature remains unchanged;they mere cycle through and evolve into different forms, but they can never departfrom their core nature, just as we have our simpler, inner natures to which we canreturn.
The “A-Cho” series is an extension of the early “Dots” works. Put(But) simply, thebasic idea of “A-Cho” is a dialogue between man and nature, communicating feelings
and understandings back and forth in the simplest of vocabularies. It employs a “neo-minimalist” approach—just a simple motif or element repeated over and over—toconstruct a visual space. This space, although uniform in substance (that is, in thematerials used), carries the viewer out and away—layer upon layer—far beyond the
confines of the space itself. The effect is like that of a breeze blowing over a uniformmeadow, a meadow that has spread out from a single seed, creating a wave motion inthe grass that carries on until it disappears from view in the endless distance.Minto Fang turns the prevailing concept of bonsai upside down. Within thedimensions of a bonsai, what else can grow and be nourished? Does it represent arejection of the
當藝術家把對大自然的嚮往投射於作品中，即使是盆栽，一草一木都能無盡悠遠，另成一方天地。藝術家范姜明道近年落腳北京，早年批判拜金主義與物質依賴發表《點子/Dots》系列作品，透過不同場域以麥草鋪陳出對原始自然的想像與回歸。近期《盆栽/Bonsai》與《阿草/A-Cho》系列，范姜明道雖改以多樣貌的形式關懷人文自然，但對心靈精神回溯與美感情調的追求依然堅持。
范姜明道這次的展覽以《盆栽》為題。《盆栽》系列把他所關注的議題推向一個更富人文精神與詩性抒情的境界。平面繪畫中簡潔的線條建構出自然況味，水平線讓自然植物在戶外與室內造景兩者中能平和過渡與移轉，室內場景中的水平線則對應天地之線，以有象度形式描繪出無窮萬象。
盆栽立體作品則擷取樹幹，雕琢出枝幹原有的線條。原取自森林的大樹能雕成小盆栽；而小盆栽移植至自然中亦能長成大樹。萬事萬物樣貌不一，但外在形象只是一種復返與衍異，變與不變終不離其真切本質。
《阿草》系列為早年《點子》作品的延續，《阿草》的簡約造型是人與自然的對話，以最為簡單的語彙互通感知，並以低限手法建構出一個均質化卻可層層推移的場域，由點至面，就像一粒種子蔓生成一片草原，一次的風吹草動即可觸動一個無遠佛屆的波動運行。
范姜明道顛覆既有盆栽的概念，盆栽方寸之內還可能滋養什麼? 是留連外面那片花花世界後的反璞歸真？還是一種心靈回歸？ 2009年春天范姜明道將在「inart space‧加力畫廊」舉辦“盆栽2009”個展，以單一的元素運作一個不斷增生的生命體。一盆栽，一宇宙。一株植物一方天地，一吋枝脈延展是一次靈光的乍現。觀者將可透過這次展覽悠游於盆栽內的那方小天地，並照見有限生命中的無限可能。
When an artist puts his or her longing for nature into his or her work, even if it isjust a simple bonsai tree, each stick and leaf has limitless potential for imagination,each tree has the ability to constitute a whole universe in itself. The artist Minto Fang,who in recent years has been living in Beijing, started early in his career with the“Dots” series that criticized money worship and materialism. The “Dots” seriesemployed wheat blades, tailored to different exhibition spaces, to evoke in ourimaginations a state of nature long ago, bringing us back to the simplicity of nature inits primitive state. In his recent “Bonsai” and “A-Cho” series, although he has adopteddifferent, more multifaceted forms to express his concern for the human condition andnature, there is the same insistence on evoking emotional and psychological reactionsin the heart and mind through the creation of aesthetic atmospheres.
Minto Fang has chosen “Bonsai” as the theme of this exhibition. The “Bonsai”series, which includes both two-dimensional oil paintings and three-dimensionalworks, continues the themes about which he has been concerned in the past, but takesthem to a higher level of poeticism, emotion, and richness of spirit. The clean andsimple lines in the two-dimensional paintings bring out in the viewer a mood orreaction like seeing nature itself. Horizontal lines in these paintings—imagined asinterior lines (walls, tables, floors) or, alternatively, as the exterior naturalhorizon—create the potential for plant life to traverse the barrier between being anelement of interior design (like a house plant) as opposed to an element of nature’s
landscape. Though the lines are measurable in a prosaic sense, if we see them in ourminds sometimes as interior lines and then sometimes as exterior horizon, this opensup to the viewer wide possibilities for imagination.
The three-dimensional works in “Bonsai” start with tree trunks, which are carvedinto stylized forms of an actual living tree with its own trunk and branches. A largetree from a natural forest can be carved into a small bonsai plant, yet a bonsai treetransplanted into nature can grow into a large tree. Although the things of naturepresent an endless variety of appearances to us, their basic nature remains unchanged;they mere cycle through and evolve into different forms, but they can never deparfrom their core nature, just as we have our simpler, inner natures to which we can return.
The “A-Cho” series is an extension of the early “Dots” works. Put(But) simply, thbasic idea of “A-Cho” is a dialogue between man and nature, communicating feelingsand understandings back and forth in the simplest of vocabularies. It employs a “neo-minimalist” approach—just a simple motif or element repeated over and over—toconstruct a visual space. This space, although uniform in substance (that is, in the materials used), carries the viewer out and away—layer upon layer—far beyond the confines of the space itself. The effect is like that of a breeze blowing over a uniform meadow, a meadow that has spread out from a single seed, creating a wave motion inthe grass that carries on until it disappears from view in the endless distance.
Minto Fang turns the prevailing concept of bonsai upside down. Within thedimensions of a bonsai, what else can grow and be nourished? Does it represent arejection of the complex world of human relationships and a rediscovery of simplicityand child-like innocence? Is it a refuge to which our spiritual selves can return? Minto Fang’s “Bonsai 2009” Solo Exhibition, held at the “inart space” gallery, working from a single ingredient, generates a life force that is endlessly vigorous and growing. Onebonsai, one universe. A whole world, from creation to destruction, birth and death,can be seen within a single plant. And in the extension of a branch by a single inch
can be seen a metaphor for the growth of our own creativity, “branching out” from ourthoughts and past experiences. Through this exhibition, viewers can enjoy a journey
through the miniature universe within each bonsai, and be witness to the limitlesspossibilities inherent in this time-bounded thing we call “life.” world of human relationships and a rediscovery of simplicityand child-like innocence? Is it a refuge to which our spiritual selves can return? Minto Fang’s “Bonsai 2009” Solo Exhibition, held at the “inart space” gallery, working froma single ingredient, generates a life force that is endlessly vigorous and growing. One bonsai, one universe. A whole world, from creation to destruction, birth and death,
can be seen within a single plant. And in the extension of a branch by a single inchcan be seen a metaphor for the growth of our own creativity, “branching out” from our thoughts and past experiences. Through this exhibition, viewers can enjoy a journey through the miniature universe within each bonsai, and be witness to the limitless possibilities inherent in this time-bounded thing we call “life.”
DATE｜ 2009.04.18 (SAT) ~ 2009.05.30 (SAT)
OPENING PARTY｜2009.04.18 (SAT.) 15：30
OPENING PARTY｜2009.04.18 (SAT.) 15：30