【藝術平台】時間之書–吳怡蒨與游幸姍的抽象創作 The Book of Time - Abstract Art of Wu I-Chien & Yu Hsing-Shan

策展人　曾學彥/文

 

哲學的分身–抽象藝術

抽象相對於具象，不以日常所見的人、事、物為描繪對象，而是僅僅透過色彩、筆觸等等基本條件構成畫面，是不可辨識的造形，也是無法言說的狀態，所以抽象藝術也稱為「非客觀藝術」，創作者致力做到非客觀和非代表性，讓觀者以自身觀點去理解其作品。抽象藝術如同音樂、詩詞、歌賦，在音律、文字與視覺元素的表面之下，實則為探討本質性議題的表現，也就是哲學的範疇。「時間之書」是德國哲學家呂迪格．薩佛蘭斯基 (Rüdiger Safranski, born 1 January 1945) 的著作,透過我們在生命過程中，各種狀態下的感知來描述時間的存在，無論是古人或是當下的我們，都共享相同的時間經驗。兩位抽象藝術創作者吳怡蒨與游幸姍，以繪畫為媒介，營造時間、空間交疊的畫面，探討時間的流向以及組成生命過程的事件。本展以探討抽象繪畫當中的「時間性」為主軸，分為兩個項目展出：

 

吉光片羽–事件的時間

「詩會展開事件，而造形藝術則是把它們濃縮到某個瞬間。」吳怡蒨的創作始於「採集事件」，從過往記憶、當下所見甚至未來的想像，都是其採集的範圍，採集想法之後再以視覺拼貼的手法呈現，成為其畫作的原型(Prototypes)。拼貼(College) ，見於⻄方立體派、達達主義與超現實主義作品之中，為傳達無法界定的時間、空間，且將作品訊息留給觀者解讀，這便是吳怡蒨抽象繪畫的創作根源。「等待冬陽」、「相見歡喜」兩幅作品，藉由在城市中日常所見的水泥牆面，融合自然與人為因素，經過長時間累積所產生的色彩與肌理，成為時間與事件的視覺載體，並能連結特定的記憶，透過色彩表達主觀的個人情感。

 

借喻古今–永恆的時間

在藝術的創造性當中發現的，正好就是時間與永恆的關係。若說賞玩古董是一門與古人心心相印的學問，那麼游幸姍的畫作則如同一道穿梭古今的時光曲徑，從視覺表現到內涵隱喻全都指向古典與當代精神的對應，探索抽象繪畫在科技世代中的樣貌。如作品「飛花」，令人聯想起「春城無處不飛花」，出自唐代詩人韓翃〈寒食〉詩：「春城無處不飛花，寒食東風御柳斜。日暮漢宮傳蠟燭，輕煙散入五侯家。」細究其中關於時間的描述，「春城無處不飛花」是指春日景象，「寒食東風御柳斜」則指的是寒食節。而「日暮漢宮傳蠟燭」是指夜間熒熒燭光的景象，最後「輕煙散入五侯家」則描述一個悠閒的畫面。無一不呈露著時間遞進之美。游幸姍卻選擇古典技法為根本，並以抽象為形式，透過反覆創作來提煉純粹的視覺美感。色彩的調和為抽象畫最關鍵的表現技法，經過色料、光與肌理的輪番交替之後，四時風景、如花似錦甚至雲中蛟龍，在其作品中皆隱約可見，就算純粹地欣賞色彩也能感受微妙的溫度。

 

 

Philosophical Doppelganger – Abstract Art

Abstract art, as opposed to representational art, does not depict everyday objects or scenes. Instead, it relies solely on basic elements such as color and brushstrokes to form images that are unrecognizable and inexpressible. This unidentifiable form of art is also referred to as "non-objective art," as its creators strive to achieve non-objectivity and non-representation, inviting viewers to interpret the works from their own perspectives. Abstract art, akin to music, poetry, and song lyrics, delves beneath the surface of melody, words, and visual elements to explore fundamental philosophical issues. "The Book of Time" is a work by the German philosopher Rüdiger Safranski (born 1 January 1945). It describes the existence of time through our perceptions in various states throughout the process of life. Whether ancient or contemporary, we all share a common experience of time. Abstract artists Wu Yiqian and Yu Hsing-Shan use painting as a medium to create images where time and space overlap, exploring the flow of time and the events that make up the process of life. This exhibition primarily focuses on the "temporality" within abstract painting and is divided into two main projects.

 

Fragment of a highly treasured relic. – The Time of Events Wu I-Chien's creative process begins with the "collection of events," encompassing memories from the past, current observations, and even future imaginings. After collecting ideas, she presents them through visual collage, becoming prototypes for her artworks. Collage, seen in Western Cubist, Dadaist, and Surrealist works, conveys the indefinable nature of time and space, leaving the interpretation of the artwork's message to the viewer. This is the creative origin of Wu Yiqian's abstract painting.

 

Metaphorical Past and Present – Eternal Time If appreciating antiques is a study that resonates with the hearts of ancient people, then Yu Hsing-Shan 's paintings are like a winding path through time, shuttling between the classical and contemporary spirits. From visual expressions to hidden metaphors, all point to the correspondence between classical and contemporary ideals, exploring the appearance of abstract painting in the age of technology. Yu Hsing-Shan, however, chooses classical techniques as the foundation and employs abstraction as a form. Through repeated creation, she refines pure visual aesthetics. The harmony of colors is a crucial technique for abstract painting, and after the alternating interplay of pigments, light, and texture, scenes of the four seasons, picturesque landscapes, and even dragons in the clouds faintly emerge in her works. Even in pure appreciation of colors, one can feel subtle warmth.