浮 圖

　　翟宗浩作品展

　　二ＯＯ九年一月九日至卅一日

　　精藝軒畫廊

　　香港中環(huán)嘉咸街35-39號嘉豪大廈地下三號鋪

　　藝術(shù)家將出席開幕式：

　　二ＯＯ九年一月九日（星期五）下午六時(shí)至八時(shí)

　　翟宗浩自述

　　畫面中的山山水水，云煙與浪花，對觀眾而言極可能只是些自然現(xiàn)象，惟從繪者立場出發(fā)，卻是他面對排山倒海的「西化狂潮」緊余的一點(diǎn)尊嚴(yán)。

　　在畫家漫長的創(chuàng)作歷程，他曾經(jīng)攀登過事業(yè)的高峰，并入選美國藝術(shù)家計(jì)劃（PS1），或者應(yīng)邀于臺北的伊通公園、臺北美術(shù)館、香港藝術(shù)館展出，但1995年卻毅然停止一切公開活動(dòng)…..也許這種不合理行為，乃源自他叛逆的性格，經(jīng)過了整整十年潛伏，現(xiàn)在回頭一望，竟又是一場無言的抗議。

　　上世紀(jì)八十年代，畫家長期躲藏在大學(xué)制度之中，由中文大學(xué)轉(zhuǎn)入東京藝術(shù)大學(xué)、美國印第安納州波奧州立大學(xué)、紐約皇后書院、緬恩州史高哈根藝術(shù)研修院，最后于紐約STUDIO SCHOOL藝術(shù)學(xué)校花了一段光陰，才正式告別學(xué)院，嘗試融入「后學(xué)習(xí)階段」的現(xiàn)實(shí)生活里。當(dāng)時(shí)紐約藝壇正席「后現(xiàn)代主義」，藝術(shù)家們沾沾自喜，將資本主義的「價(jià)錢牌」掛入脖子上，高高興興地帶住滿身銅臭，穿插蘇豪街道。這種一夜間藝術(shù)搖身成為商品的轉(zhuǎn)變，肯定讓剛踏足社會的「新鮮人」感覺不適應(yīng)，尤其是關(guān)乎他一直堅(jiān)持───藝術(shù)乃不可侵犯的神圣地位。由于他不可能獨(dú)個(gè)兒矯正流行一時(shí)的社會風(fēng)氣，故此只好默默地抗拒，自此他放棄所有公開展示機(jī)會，只私底下繼續(xù)著藝術(shù)的探索和創(chuàng)作。

　　這段日子翟宗浩對新馬克思主義里，討論廣義殖民主義的辯證十分著迷，西方文化不單表面上改變了我們衣食住行等生活行為，它甚至影響了東方人的思維方法。簡而言之，人們平日愛說的「中西文化交流」根本只是個(gè)騙局，實(shí)際上它是股強(qiáng)烈而單向的「西漸」；就藝術(shù)而言，西方文明入侵，徹底摧毀和中斷了中國繪畫之延續(xù)和發(fā)展。

　　從１９９５年藝術(shù)家開始過著自我放逐日子，他的自尊受到嚴(yán)重創(chuàng)傷，從前認(rèn)為知識分子必須擁有自我思辯能力，他幻想畫家的作品肯定言之有物，當(dāng)發(fā)現(xiàn)大家都只曉得如鸚鵡學(xué)語般，拼命模仿白種人的藝術(shù)語言，頹然他感到自慚，為了自救，他勇敢地往根源處探索，努力將本國文化深層的優(yōu)越加以挖掘。年復(fù)一年的努力，他明白了「仁者樂山，智者樂水」的道理，也尋找到各種山水、園林、深壑，并且將它們紀(jì)錄作品中，雖然這一切都沿自傳統(tǒng)國畫，卻又轉(zhuǎn)化成十分的現(xiàn)代／當(dāng)代 ───它們象征了亞洲人予靈性和安逸的向往，而大別于西洋對刺激及經(jīng)驗(yàn)之執(zhí)迷。

　　在創(chuàng)作之中，畫家得到了和諧，他以畫筆建筑起一座神殿，完成的畫布替觀者提供了襲襲涼風(fēng)，乃一扇又一扇窗戶，令浮沉擾攘的凡人，(視覺上)瞬間投進(jìn)大自然懷抱，并于一念中淺嘗到永恒。

　　FLOATING WORLD

　　Paintings by Chak

　　9th – 31st January, 2009

　　Art Beatus Gallery

　　35-39 Graham Street, Ground Floor

　　Central, Hong Kong

　　The artist will attend the opening reception

　　on 9th January, 2009 (Friday), 6pm – 8pm

　　Chak's Statement

　　All the air, mountains, waves, fog and clouds that viewers see in my works can be considered as the pride of being Chinese in an age of complete Westernization.

　　After a few successful exposures in my career, which included shows in Clock Tower (PS1), IT-Park and an invitation to the space of Taipei Museum, I abruptly refrained from exhibiting after 1995. That may have much to do with my tormented and rebellious character. Now a decade passed. When I look back, it has become clear that the ordeal was in fact my action against reaction.

　　In the 80s I was protected within the environs of various universities. The art scene in New York, which can be termed as my “after-school” program, on the contrary was under strong influence of Post Modernism. Art and artists carried price tags rambling around SoHo. Everything became merchandise overnight. As a newcomer, I did not enjoy what I saw. Art has been my lifelong passion. As I could not change the world, personal adjustments were made. To start with, I quit participating in exhibits. Yet I have never stopped thinking, understanding, analyzing, dreaming and most of all creating art.

　　I am always interested in the Neo-Marxist's view on colonialism. Western culture has not only changed the way Asians dress, the food we eat, the language we speak; it has also altered how we perceive. In short, there is no such thing as "West meets East" but "West eats East." In the realm of visual art, this very trend has undercut the growth and continuity of Chinese painting.

　　In 1995 I surrendered with my ego bruised. Being an Asian as well as a painter, I was both confused and lost. To my understanding, an intellectual is someone who thinks independently. By the same token, an artist needs to be one who can express his own views through art. I have great doubts in following the Caucasian mode and calling the outcome contemporary Chinese art. Such thought forced me to study what Asia possessed that is of equal importance. I ended up with trees and hills (very much "Old School Chinese"). The subjects may seem traditional, but I can assure you that they are up-to-date modern. Asians long for peace (of mind), while western culture revolves upon experience and excitement. Such views are directly reflected in art. We see mists and streams as tranquility; that very subject (nature) may look mundane in some foreign eyes.

　　I am immersed in harmony when I paint. The process (of creating) is my holy shrine and the canvas a breath of fresh air. The finished art provides a slim window to escape. It frees us from the mortal trivial. It is a means and the end is the visual, which enacts eternity.

　　Art Beatus Gallery is located on the ground floor of 35-39 Graham Street, Central, near the junction with Hollywood Road and Lyndhurst Terrace (SOHO Area).

　　For further information about this exhibition, you can either e-mail us at dyiu@artbeatus.com.hk or call 2522-1138 / 2526-0818.

　　Gallery hours: Mon.-Sat. 11:30am to 7:30pm, close on Sundays & public holiday

　　精藝軒畫廊 位于中環(huán)嘉咸街卅五號地鋪（近荷李活道與擺花街交界）。

　　有關(guān)展覽詳情，請電郵 或致電 2522.1138 / 2526.0818 查詢。

　　畫廊開放時(shí)間：星期一至六 11:30am-7:30pm 星期日及公眾假期休息。