心識地圖 ── 薛保瑕的心海奇航 文｜蕭瓊瑞
抽象繪畫的成立，是人類20世紀重大的藝術成就，脫離自然形態的模擬寫真，超越文學、宗教的情境敘述，回到純粹形、色的結構，映現內心的真實，抽象繪畫為藝術家開拓出較之以往更為寬闊、深邃的創作空間。
薛保瑕前往紐約普拉特藝術學院留學那年(1983)，距離抽象藝術的成立(約1910)已近百年。她的指導教授Richer Bove經常問她：「保瑕！抽象藝術發展已近百年，抽象藝術創作，尤其繪畫，還可以怎樣下去？」這個課題也成為此後薛保瑕藝術創作探索的終極關懷。
初期的抽象繪畫，以形式的風格，大抵被粗分為冷抽和熱抽兩種；前者以較冷靜、理性的幾何形式，後者以奔放、揮洒的書寫形式成為抽象繪畫創作的兩大主流。但要者均在切斷對自然的模仿，和對事件的描述，企圖藉由一些「無可名之形」(Unrecognizable forms,康丁斯基語)進行純粹形、色、空間的探究與建構，追求一種純粹繪畫元素的「造形世界」(Plastic world)。
作為一個來自東方的年輕藝術家，薛保瑕在她的文化背景中，熟悉許多既具純粹造形意識，又兼具「能指」意涵的藝術形式，一如：書法、寫意水墨，乃至青銅禮器的紋飾等。因此，抽象繪畫是否一定要切斷和現實事件的聯繫？也就成了她紐約大學博士論文的題目，更是她此後長期創作的課題。80年代後期的「回溯」系列，正是在乍看抽象的表面形式下，企圖加入許多具有象徵或敘事意味的物象符號或文字書寫；這些「似有所指」、乃至「似有所本」的畫面元素，在在呈顯薛保瑕意圖跨越「抽象」與「具象」、「純粹」與「敘事」、「意識」與「潛意識」、乃至「可掌握的」與「不可掌握的」……之間的多重糾葛、對立，達到一種可能的動能平衡。
90年代之後，某些實物的加入畫面，如：塑膠魚餌、漁網、鉛錘等，更是對抽象繪畫「純粹性」的一種挑戰；同時，也透過這樣的物象隱喻，顯露薛保瑕高度的社會關懷意識，對人類社會，乃至宇宙自然的種種本質、關係和危機，進行深具反省性、批判性的敏銳思考與質疑。
而跨越新世紀之後，薛保瑕在繁忙的藝術行政工作之同時，也進入抽象藝術探討的另一嶄新領域；也就是藉由畫面中某些「多義名言」的符碼並置，探討不同視覺元素意義的「互文性」(Intertextuality)，藉以開拓「抽象繪畫」新的可能她說：「我們無須強制自己回到二十世紀初期觀賞了解抽象藝術的固定模式中，去認識當今的抽象藝術作品；反之，我們當可試圖銜接身處之年，自由的發揮創造的聯想，以及自己對應於時代的現實體認基石上，去經驗、感知與閱讀這些作品。」
這個系列的作品，薛保瑕多數採取併幅的畫面處理，讓帶著知性、理性的冷抽，和充滿力道、線條的熱抽，共時並存，產生一種相互生發影響的視覺及心理效果；甚至在一般的畫布之外，更直接運用具幾何排列效果的立體木塊和三夾板。
2009年之後，薛保瑕終於結束繁重的行政負擔，也經歷了生命中最大的死蔭挑戰，走出幽谷，重新展開「流動現實」的持續探索。那是一種帶著表現主義手法的「熱抽」與九個平塗圓點的「冷抽」之間的對話、拉扯與共融。2012年的「動能現場」，正是此一系列的持續發展。
告別自身，乃至社會、自然的關切意識，「抽象」與「具象」的辨證，此時回到「抽象藝術」的本身，進入「認識論」中所謂「對自我認識的再認識」。她具體的假設和提問是：當抽象繪畫在歷史的進程中，也被某些固定的認知所「具象化」時，抽象繪畫如何在這樣的「具象」中，進行「當代抽象」的創造性建構？換句話說，如果一幅畫作已經很容易地被認識且判斷為「抽象畫」，那麼抽象藝術也就已具有「自我指涉」的特性，而此特性在時空推演的過程中，相對地也就逐漸形成他自身的悖論。從這樣的「內認識」出發，薛保瑕正是要在此一悖論的本質中，持續開拓當代抽象藝術「以自身形塑自身歷史」的可能性。
2014年的新作，在色彩上有明顯走回素樸、單色的趨向，那是一種東方美學的再現，也是對自身文化的回凝。薛保瑕曾經花費相當的時間去學習書法、版畫，乃至雕塑；而熱愛運動，更是一種自我體能的挑戰。她近期的作品，讓人感受到這些曾經有過的訓練或修為，都凝鍊、化約成為她畫面中的動能與元素。當她站立這些直立、巨幅的畫面前，揮舞畫筆的時刻，尤其是面對那件〈深邃之境〉(2014)鉅作時，令人不禁浮現那踏著衝浪板、迎風破浪而行的衝浪者，………..；那美麗的愛麗兒(Ariel,小美人魚)，甚至轉身躍入那無垠的浪潮深淵，進入無垠、迷濛又美好的心靈深處。
薛保瑕說：
「創作時我喜歡由未知開始，但在發展過程中，如何串聯已知與未知的間距，則有如置身於自旋的感知關係場域之中。這樣的情境與現狀，如同凝視一頁地圖，不時地串聯當下的認知與現實的遇合之處，促使我進入流動性的思維狀態，產生一種創作時不可缺少的動能趨力。」
又說：
「在創作過程中，交錯的思維發生於凝視的當下，當其轉換為身體的姿態時，一頁的心識地圖遂已成形。」
「心識」在古河洛語中，有比「趣味」更深刻的意涵；「心識其意，自得其趣」。薛保瑕的「心識地圖」，既是她的心海奇旅，也是邀觀眾分享其「心識」，並進而產生「心識」的最佳導航。
薛保瑕前往紐約普拉特藝術學院留學那年(1983)，距離抽象藝術的成立(約1910)已近百年。她的指導教授Richer Bove經常問她：「保瑕！抽象藝術發展已近百年，抽象藝術創作，尤其繪畫，還可以怎樣下去？」這個課題也成為此後薛保瑕藝術創作探索的終極關懷。
初期的抽象繪畫，以形式的風格，大抵被粗分為冷抽和熱抽兩種；前者以較冷靜、理性的幾何形式，後者以奔放、揮洒的書寫形式成為抽象繪畫創作的兩大主流。但要者均在切斷對自然的模仿，和對事件的描述，企圖藉由一些「無可名之形」(Unrecognizable forms,康丁斯基語)進行純粹形、色、空間的探究與建構，追求一種純粹繪畫元素的「造形世界」(Plastic world)。
作為一個來自東方的年輕藝術家，薛保瑕在她的文化背景中，熟悉許多既具純粹造形意識，又兼具「能指」意涵的藝術形式，一如：書法、寫意水墨，乃至青銅禮器的紋飾等。因此，抽象繪畫是否一定要切斷和現實事件的聯繫？也就成了她紐約大學博士論文的題目，更是她此後長期創作的課題。80年代後期的「回溯」系列，正是在乍看抽象的表面形式下，企圖加入許多具有象徵或敘事意味的物象符號或文字書寫；這些「似有所指」、乃至「似有所本」的畫面元素，在在呈顯薛保瑕意圖跨越「抽象」與「具象」、「純粹」與「敘事」、「意識」與「潛意識」、乃至「可掌握的」與「不可掌握的」……之間的多重糾葛、對立，達到一種可能的動能平衡。
90年代之後，某些實物的加入畫面，如：塑膠魚餌、漁網、鉛錘等，更是對抽象繪畫「純粹性」的一種挑戰；同時，也透過這樣的物象隱喻，顯露薛保瑕高度的社會關懷意識，對人類社會，乃至宇宙自然的種種本質、關係和危機，進行深具反省性、批判性的敏銳思考與質疑。
而跨越新世紀之後，薛保瑕在繁忙的藝術行政工作之同時，也進入抽象藝術探討的另一嶄新領域；也就是藉由畫面中某些「多義名言」的符碼並置，探討不同視覺元素意義的「互文性」(Intertextuality)，藉以開拓「抽象繪畫」新的可能她說：「我們無須強制自己回到二十世紀初期觀賞了解抽象藝術的固定模式中，去認識當今的抽象藝術作品；反之，我們當可試圖銜接身處之年，自由的發揮創造的聯想，以及自己對應於時代的現實體認基石上，去經驗、感知與閱讀這些作品。」
這個系列的作品，薛保瑕多數採取併幅的畫面處理，讓帶著知性、理性的冷抽，和充滿力道、線條的熱抽，共時並存，產生一種相互生發影響的視覺及心理效果；甚至在一般的畫布之外，更直接運用具幾何排列效果的立體木塊和三夾板。
2009年之後，薛保瑕終於結束繁重的行政負擔，也經歷了生命中最大的死蔭挑戰，走出幽谷，重新展開「流動現實」的持續探索。那是一種帶著表現主義手法的「熱抽」與九個平塗圓點的「冷抽」之間的對話、拉扯與共融。2012年的「動能現場」，正是此一系列的持續發展。
告別自身，乃至社會、自然的關切意識，「抽象」與「具象」的辨證，此時回到「抽象藝術」的本身，進入「認識論」中所謂「對自我認識的再認識」。她具體的假設和提問是：當抽象繪畫在歷史的進程中，也被某些固定的認知所「具象化」時，抽象繪畫如何在這樣的「具象」中，進行「當代抽象」的創造性建構？換句話說，如果一幅畫作已經很容易地被認識且判斷為「抽象畫」，那麼抽象藝術也就已具有「自我指涉」的特性，而此特性在時空推演的過程中，相對地也就逐漸形成他自身的悖論。從這樣的「內認識」出發，薛保瑕正是要在此一悖論的本質中，持續開拓當代抽象藝術「以自身形塑自身歷史」的可能性。
2014年的新作，在色彩上有明顯走回素樸、單色的趨向，那是一種東方美學的再現，也是對自身文化的回凝。薛保瑕曾經花費相當的時間去學習書法、版畫，乃至雕塑；而熱愛運動，更是一種自我體能的挑戰。她近期的作品，讓人感受到這些曾經有過的訓練或修為，都凝鍊、化約成為她畫面中的動能與元素。當她站立這些直立、巨幅的畫面前，揮舞畫筆的時刻，尤其是面對那件〈深邃之境〉(2014)鉅作時，令人不禁浮現那踏著衝浪板、迎風破浪而行的衝浪者，………..；那美麗的愛麗兒(Ariel,小美人魚)，甚至轉身躍入那無垠的浪潮深淵，進入無垠、迷濛又美好的心靈深處。
薛保瑕說：
「創作時我喜歡由未知開始，但在發展過程中，如何串聯已知與未知的間距，則有如置身於自旋的感知關係場域之中。這樣的情境與現狀，如同凝視一頁地圖，不時地串聯當下的認知與現實的遇合之處，促使我進入流動性的思維狀態，產生一種創作時不可缺少的動能趨力。」
又說：
「在創作過程中，交錯的思維發生於凝視的當下，當其轉換為身體的姿態時，一頁的心識地圖遂已成形。」
「心識」在古河洛語中，有比「趣味」更深刻的意涵；「心識其意，自得其趣」。薛保瑕的「心識地圖」，既是她的心海奇旅，也是邀觀眾分享其「心識」，並進而產生「心識」的最佳導航。
Mind Maps –
Ava Pao-shia Hsueh’s Cruise of Mind Hsiao Chiung-jui
The birth of abstract painting is humans’ most major artistic achievements in the Twentieth Century. It escapes the figurative symulation of Nature, transcends the scenario description in literature or religion, and returns to the absolute structure of shape and color to reflect the inner truth. Abstract painting thus allows us more freedom to explore the profundity of art-making.
Ava Pao-shia Hsueh went to New York to study at Pratt Institute in 1983, which was almost one hundred years after the birth of abstract art (around 1910). Her advisor Richer Bove often asked her a question: “Ava, abstract art has developed for almost one hundred years, what do [WU2] think about the future of it, especially painting?” The question later became the ultimate pursuit of Ava’s artistic exploration.
The early abstract painting can be divided into Cold Abstract and Hot Abstract. The former features cool and rational geometric shape, while the latter features unrestrained and expressive strokes. However, one thing in common between these two mainstreams is how they break away from the symulation of Nature and the description of event. Instead, through “unrecognizable forms,” as how Wassily Kandinsky puts it, they attempt to explore and construct a “plastic world” of the most absolute elements in painting such as shape, color, and space.
As a young artist from the East, thanks to her cultural background, Ava is well familiar with the art forms in which the concept of absolute shape is integrated with signifiers, including calligraphy, ink painting in expressive style, or the decoration patterns on ritual bronzes. Therefore, “does abstract painting have to shut off its connection with reality?” became the subject of Ava’s doctoral dissertation when she was studying at New York University. [WU3] It was in Trace Series of the late 1980s that she started adopting numerous object symbols or texts with symbolic or narrative references. These imageries which seemed to “refer to something” or “base on something” perfectly demonstrated Ava’s intention to cross the contradictory and complex boundary/conflict between the figurative and the abstract, the absolute and the narrative, the conscious and the subconscious, as well as the manipulable and the un-manipulable.
After the 1990s, she started placing real objects (such as plastic fishing lure, fishing net, and fishing sinkers) in the images, further challenging the “absolute pureness” of abstract painting. Meanwhile, the symbolic objects revealed Ava’s high sensitivity to social issues, especially her critical and introspective speculation on human society as well as the essences, relations, and crises about Nature and the Universe.
Since the beginning of the Twenty-First Century, Ava had explored a new sphere of abstract art as she was busy in her art administration work. She juxtaposed the polysemous code in the image to discuss the intertextuality among different visual elements and to search for a new possibility for abstract art. “When we are trying to know about contemporary abstract art, we do not have to return to the conventional patterns to discuss abstract art like what we did in the beginning of the Twentieth Century; instead, we can make ourselves a bridge to connect the free creative imagination and the reality we are based on – it should be the way how we experience, perceive, and read these works,” says Hsueh.
In this series, Ava usually puts the images together as diptych, bringing the cold abstract of rationality and the hot abstract of dynamic linearity in co-existence to create a visual and psychological effect of mutual influences. She even places wood blocks on plywood in geometric shapes beyond the canvas.
In 2009, Ava finally ended her administrative career and survived the biggest challenge of her life. Walking through the valley of the shadow of death, she continued her exploration of the “flowing reality.” It was a conversation, a struggle, and a combination between “hot abstract,” with a bit of expressionism, and “cold abstract,” with nine flat painted dots. “Energetic Scene[WU4] ” in 2012 was the extension of the series.
Waving goodbye to the self, to the concern for society and Nature, and to the dialectics between the abstract and the figurative, Ava returned to the essence of abstract art to “explore the self-exploration,” as described in epistemology it. She brought up the first substantial hypothesis: if abstract painting has become “figurative” throughout the historical process because of certain fixed understanding, how should abstract painting be creatively constructed as “contemporary abstract” in a “figurative process” like this? In other words, if a painting is easily known and identified as an “abstract painting,” abstract art also becomes self-referential. With the passing of time, its self-reference has gradually betrayed its nature[WU5] . The “self-knowledge” thus allows Ava to explore a greater possibilities of contemporary abstract art to “construct one’s history through oneself” on the basis of the contradictory quality.[WU6]
In her recent works in the 2014, she returns to the simple and plain monochrome. It represents the Eastern aesthetics and reexamines one’s own culture. Ava has spent much time on learning calligraphy, printmaking, and even sculpture. She loves sport, and she thinks of it as a physical challenge of her own body. In her recent works, we see the training and the practice she has been working on transforming into the dynamics and elements in her paintings. When she stands in front of the vertical large-size painting to brandish the brush, especially the masterpiece Profound Realm(2014), she lets us see surfers riding the waves in the wind as well as Ariel the beautiful mermaid, and she invites us to dive into the deep blue – the immense, mysterious, and wonderful place in the bottom of one’s heart.
Ava says:
I prefer to start from the unknown during the process of artistic creation. But bridging the distance between the known and unknown in the creative process is akin to finding oneself in a mental space spun out of the complex relationships of thought and feeling. It is rather like gazing upon a map and constantly reconciling cognition and reality. However, this process gives me a fluidity of thought, which in turn gives rise to the momentum that is essential to making art.
She goes on speaking of that:
Over the course of the creative process, interlace thoughts come into existence at the moment the gaze is fixed. As they give rise to bodily form, a series of mind maps emerge.
“Mind(心識，sim-siek)[WU7] ” in old Holo language has a more profound meaning than “pleasure” – “when your mind gets the meaning of something, pleasure emerges.” Ava’s “mind maps” are her adventurous cruise, and also the best navigation to share her “mind” with viewers.