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Room 606 梁藍波&趙南開

趙南開NAN-KAI CHAO

創作論述:


Artist Statement:

地景藝術創作者安迪‧戈茲沃西(Andy Goldsworthy, 1956 -)作品的黑色圓形有著虛體、有著無法意測的深度,詮釋出虛無存在性。

The artworks by the landscape artist Andy Goldsworthy (1956- ) often feature a black hole of an immeasurable depth


as an embodiment of voidness.


趙南開嘗試在創作的範疇親身體驗,以台灣溪水為創作契機原點,敘述的並非肉眼所見水的意象感覺,而是高山溪水對他創作的啟迪。以玻璃材質的切割線條,反映溪水、岩石及漩渦自然環境虛與實的危機轉換與他面對恐懼與無助的直觀,經過每道工序,將一切化繁為簡,追求最低的視覺干擾,表現低限純粹的繪畫性特質。

It is an experience CHAO Nan-Kai intends to explore via artmaking, which departs from the mountain streams not to give a realistic depiction but how the landscape of mountainous scenery becomes an artistic inspiration. The contours from glass-cutting reflects the risky transition between the realistic and abstract essence of nature as found in streams, rocks, and whirlpools as well as his intuitive confrontation with fear and helplessness. Every step throughout the artmaking process continuously simplify the complications to achieve the lowest visual disturbance and to manifest the most absolute minimalist painterly quality.



作品受水墨繪畫影響,融合東西方的美學元素,保留了許多繪畫符號。作品利用平板玻璃當作畫布,運用熔合、切割、噴砂、拋光等工法來創作,以霧面不透光等溫潤的感覺,取代了冰冷透亮光滑的質感,風格多以低限造型為主,使用黑與白兩個位於色彩兩端的顏色,就如同紙與墨的表現方式,媒材的轉變不影響思想本質。創作的過程是回憶再現也是自我批判,讓空間自然形成二次元影像,讓不經意形成的自然狀態留存在作品中。

With an influence from ink-wash painting, the artwork integrates the aesthetics from both the East and West as it also maintains painterly symbols. By using plate glass as canvas, techniques such as fusion, cutting, sandblasting and polishing are added with an opaque matte finish – rather than the cold, bright and smooth surface – to create a sense of warmth, while the minimalist shapes in black and white, at the two ends of the spectrum, remind us of a paper-and-ink quality to convey a similar artistic philosophy despite of the use of different materials. The artmaking process is as much an enactment of memory as self-criticism, as it transforms the space into a two-dimensional image for the spontaneous natural scenery to be engraved on it.



 

LAMPO LEONG • DISTINGUISHED PROFESSOR & HEAD OF DEPARTMENT OF ARTS & DESIGN

Lampo Leong, PhD, is an internationally acclaimed painter, calligrapher, photographer, digital artist and designer who received his PhD in Art Theory and Practice from the Central Academy of Fine Arts in Beijing, his MFA in painting with High Distinction from the California College of the Arts, and his BFA in ink painting from Guangzhou Academy of Fine Arts. Leong is currently a Distinguished Professor, Doctoral Advisor, Head of Department of Arts and Design, and Director of Centre for Arts and Design at the University of Macau, and Associate Director of Macao Painting Academy, Member of Chinese Artists Association. He is also a Professor Emeritus at the University of Missouri-Columbia and a former Art Department Chair, Visiting Professor at the Guangzhou Academy of Fine Arts, and has been named the Weiner Distinguished Professor at the Missouri University of Science & Technology. Leong has presented over 250 lectures across the US and Asia in international conferences and institutions such as Stanford University, University of California at Berkeley, UC Davis, Asian Art Museum of San Francisco, Nelson-Atkins Museum of Art, College Art Association 92nd Annual Conference, Yeongwol Museum International Forum in Korea, Sichuan University, Wuhan University, Harbin Institute of Technology, Shanghai University, Sichuan Academy of Fine Arts, China Academy of Art, and Tainan National University of the Arts. Leong has served as curator and judge for more than 60 art exhibitions, grants, and public art competitions, for example, A‘Design Award & Competition in Italy, the Best of America national juried exhibition, the 47th Annual Juried Exhibition by the Sumi-E Society of America, San Francisco Arts Commission, Missouri Arts Council, and 2020 Exposicao Colectiva dos Artistas de Macau. Leong's work has been featured in international contemporary art auctions such as Christie’s, Ravenel, and Poly, and in art expos and museums and galleries worldwide through 70 solo and over 400 national or international juried or curated group exhibitions, including The Art of Writing in Germany, Salon des Beaux Arts 2019 at the Carrousel de Louvre in Paris, Question at the Cantor Center for the Visual Arts, the International Contemporary Masters III at the Southern Nevada Museum of Fine Art, Shining Stars: 4 Cultural Visionaries of Contemporary Painting at the Pacific Heritage Museum in San Francisco, Language Non Language at the Ethan Cohen Fine Art in New York, Art Asia 2019 at COEX in Seoul in South Korea, Singapore Contemporary Art Show, Art Taipei, the Taipei International Modern Ink Painting Biennial, Art of China, the 7th, 11th and 13th National Fine Arts Exhibition in China, Re-Ink: Contemporary Ink Painting 2000-2012 at Today Art Museum in Beijing, The First Nanjing International Art Festival, AS-Helix: The Integration of Art and Science in the Age of Artificial Intelligence at the National Museum of China in Beijing, Centuries-Old Legacy at the Palace Museum in Beijing, Art Central and Ink Global 2017 and 2021 in Hong Kong. Leong has received over 90 awards and extensive recognition, including a Gold Award at the Creative Quarterly international art competition in New York and A’Design Award in Italy, and the Chinese National Arts Fund. Additionally, Leong has collaborated with composers and choreographers on contemporary ink animations and multimedia performances, which have premiered in San Francisco’s Yerba Buena Center for the Arts, Kauffman Center for Performing Arts in Kansas City, Skaneateles Festival in New York, Musicacoustica-Beijing, Shenzhen Museum of Contemporary Art and Urban Planning, Guan Shanyue Museum of Art, Guangdong Art Museum and Macau Museum of Art. Leong’s works can be found in more than 10 museum and hundreds of notable corporate and private collections, including the Cantor Center for Visual Arts at Stanford University, the Minneapolis Institute of Arts, the Asian Art Museum of San Francisco, the Macao Art Museum, the Guangdong Museum of Art, the Written Art Foundation in Germany, and The Tokyo Westin, as well as public art commissions for the Columbia City Hall and an 8-meter-diameter granite inset calligraphic medallion for a San Francisco public park. In addition, Leong has published 8 monographs of his art, more than 50 essays on formalist study and art education, and a book of theoretical research, A New Aesthetic Perspective: The Visual Forces of W Curve, is being published by the prestigious People’s Publishing House in Beijing. Leong’s art and achievements have been documented over one thousand reviews, publications and citations in newspapers, magazines, art books, websites, and on television internationally, including the front cover of New Art International in New York and the Creative Genius: 100 Contemporary Artists in London. Leong is a recipient of the Faculty-Alumni Award by the University of Missouri-Columbia in 2007 and San Francisco Mayor proclaimed November 19, 1999 to be Lampo Leong Day.

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