姚瑞中 個展 恨纏綿
恨纏綿─姚瑞中個展
Romance─Yao Jui-Chung Solo Exhibition
年底受邀參加澳洲亞太當代藝術三年展的藝術家姚瑞中,長期以來的創作皆觸及政治與歷史大敘事的批判審視,此次於昆士蘭當代美術館展出寬達二十四米的巨型連拼廢墟攝影作品即為代表之一。而在邁入人生四十載寒暑之際,姚瑞中也將於台南加力畫廊推出全新繪畫個展「恨纏綿 」,將近年來頗富戲劇性的心境變化做一次回顧與總結,他改寫並挪用了中國美術史的經典畫作,將其轉化成個人生活與真實的感情故事,試圖將宏大史詩文本轉化為私微自傳敘事,為形式僵化的古畫注入現代感。令人好奇的是,姚瑞中會用何種姿態回應自己過往的輕狂歲月?
For a long time, artist Yao Jui Chung has critically examined major political and historicevents in his practice. Participating in The 6th Asia Pacific Triennial of Contemporary Art,he will show an ongoing project Everything Will Fall Into Ruin which considers the idea of an‘aesthetic of ruins’ at the Queensland Art Gallery. The upcoming exhibition at Tainan’s InArtSpace, Yao’s new drawing series Romance is a retrospection of his shifting frame of mind ashe approaches midlife. In this series, Yao inserts contemporaniety into the unyielding form ofancient practices. By appropriating Chinese traditional artworks to narrate his personal lifeand emotional accounts, he transforms literary classics into autobiographical recounts. HowYao will represent his slightly wild days in these works is greatly anticipated.
在形式上,《恨纏綿 》及《如夢令》兩系列皆以中國傳統風俗畫與界畫風格為藍本,姚瑞中先上網搜索中意的圖片再列印A4紙出來,尋找與自身經驗類似的構圖後進行拼貼,由於網路圖片解析度不高,圖片細節往往糊成一片,因此他索性以自創的「春蠶吐絲」筆法,綿密地以針筆在粗糙的印度手工紙上,勾勒出想像中的大山巨川,自成一處桃花源嬉遊其間,並化身為頭上長角的魔鬼搬演愛戀情事,在時空交錯處與舊愛重遊綺幻夢境。
Formally, Yao references Chinese genre painting and JieHua (Chinese architecturepainting) in the two series Romance and Dreamy. He composes his works bypatching low-resolution images taken from the Internet. Yao uses “caterpillar spinssilk thread” – a self-invented drawing technique, covering textured Indian hand-madepaper with pen lines. The main subjects, a horned-devil with its old fling, act out alove story as they roam in the imaginary arcadia.
剛硬的針筆勾扯出細密纏綿如網狀般的山水,以千絲萬縷寫下不惑之年的懺情錄,將消逝的戀情用丘壑春水寫成一首首詠嘆調,並以金箔將畫面空白處貼覆成一片金碧山水,羅織華麗卻已緩慢流逝的青春舊夢。而按金的手作勞動與繁瑣線條的耗時描繪,則像是某種沉潛心性的靜修儀式,年輕時的衝撞與強硬銳利似乎都收斂為柔軟謙卑。展現在眼前目眩神迷的金光閃閃中,姚瑞中讓歷史的宏大敘事與個人的私密傳記神交於瑞氣千條內,透過才子佳人的風流韻事,成就了如夢似幻的花花世界,只恨今世不能纏綿。
Yao crafts meshed landscapes with hard drawing pen; the countless strokes seem totell a midlife confession, and the scenery is lamenting for the vanishing romance.Overlaying the negative spaces with gold, the lavishing landscape is but Yao’s fleetingdreams from the youth. The laborious process of gilding and drawing is as a soul-conditioning ritual, converging his youthful recklessness into humility. Through the mesmerizing gleam of the images, Yao weaves together historic events and personal fables; though the amorous affair continues in the dream-like world, he can linger no more.
For a long time, artist Yao Jui Chung has critically examined major political and historicevents in his practice. Participating in The 6th Asia Pacific Triennial of Contemporary Art,he will show an ongoing project Everything Will Fall Into Ruin which considers the idea of an‘aesthetic of ruins’ at the Queensland Art Gallery. The upcoming exhibition at Tainan’s InArtSpace, Yao’s new drawing series Romance is a retrospection of his shifting frame of mind ashe approaches midlife. In this series, Yao inserts contemporaniety into the unyielding form ofancient practices. By appropriating Chinese traditional artworks to narrate his personal lifeand emotional accounts, he transforms literary classics into autobiographical recounts. HowYao will represent his slightly wild days in these works is greatly anticipated.
在形式上,《恨纏綿 》及《如夢令》兩系列皆以中國傳統風俗畫與界畫風格為藍本,姚瑞中先上網搜索中意的圖片再列印A4紙出來,尋找與自身經驗類似的構圖後進行拼貼,由於網路圖片解析度不高,圖片細節往往糊成一片,因此他索性以自創的「春蠶吐絲」筆法,綿密地以針筆在粗糙的印度手工紙上,勾勒出想像中的大山巨川,自成一處桃花源嬉遊其間,並化身為頭上長角的魔鬼搬演愛戀情事,在時空交錯處與舊愛重遊綺幻夢境。
Formally, Yao references Chinese genre painting and JieHua (Chinese architecturepainting) in the two series Romance and Dreamy. He composes his works bypatching low-resolution images taken from the Internet. Yao uses “caterpillar spinssilk thread” – a self-invented drawing technique, covering textured Indian hand-madepaper with pen lines. The main subjects, a horned-devil with its old fling, act out alove story as they roam in the imaginary arcadia.
剛硬的針筆勾扯出細密纏綿如網狀般的山水,以千絲萬縷寫下不惑之年的懺情錄,將消逝的戀情用丘壑春水寫成一首首詠嘆調,並以金箔將畫面空白處貼覆成一片金碧山水,羅織華麗卻已緩慢流逝的青春舊夢。而按金的手作勞動與繁瑣線條的耗時描繪,則像是某種沉潛心性的靜修儀式,年輕時的衝撞與強硬銳利似乎都收斂為柔軟謙卑。展現在眼前目眩神迷的金光閃閃中,姚瑞中讓歷史的宏大敘事與個人的私密傳記神交於瑞氣千條內,透過才子佳人的風流韻事,成就了如夢似幻的花花世界,只恨今世不能纏綿。
Yao crafts meshed landscapes with hard drawing pen; the countless strokes seem totell a midlife confession, and the scenery is lamenting for the vanishing romance.Overlaying the negative spaces with gold, the lavishing landscape is but Yao’s fleetingdreams from the youth. The laborious process of gilding and drawing is as a soul-conditioning ritual, converging his youthful recklessness into humility. Through the mesmerizing gleam of the images, Yao weaves together historic events and personal fables; though the amorous affair continues in the dream-like world, he can linger no more.
DATE|2009.12.19 (SAT) - 2010.01.23(SUN)
OPENING PARTY|2009. 12.19 (SAT) PM3:00
OPENING PARTY|2009. 12.19 (SAT) PM3:00