Nunu Fine Art路由艺术:【Art Central

2020-05-24    收藏523
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Nunu Fine Art路由艺术【Art Central HK 艺博会-展位E09】Nunu Fine Art路由艺术:【Art CentralNunu Fine Art路由艺术:【Art CentralNunu Fine Art路由艺术:【Art CentralNunu Fine Art路由艺术:【Art CentralNunu Fine Art路由艺术:【Art Central

    展期

    日期:2019-03-27 ~ 2019-03-31

    地点

    中环海滨活动空间(香港中环龙和道9号)

      今年3月的香港Art Central艺术博览会,路由艺术将带着来自印尼的艺术家依亚拜迪欧.匹可 (Iabadiou Piko),以及比利时的艺术家史丹.安克 (Stijn Ank) 的作品参展。
      印尼艺术家依亚拜迪欧.匹可 (Iabadiou Piko)作品中强烈的色彩与元素,体现了他丰富的内心世界。匹可的作品相容了不同的文化与风格,当观者凝视着匹可的画作时,便能轻易受到他那自由的风格与不受限制的灵魂感召。匹可的每一件作品皆再再表现出他整合各种元素与媒材的卓越能力。而比利时艺术家史丹.安克 (Stijn Ank)的作品则展现了对于媒材精準的控制力,然而,其中却又不失自由意志。以石膏作为其主要的创作媒材,凭藉直觉将混有颜色的石膏倒入模中,层层堆叠,赋予作品自主权,使之得以浑然天成。
      两位艺术家虽然在截然不同的文化与教育体系中成长,但他们的作品中,却存在着相同的精神和那属于艺术的本质,使他们能够持续的探索,在各自的艺术旅程中寻找答案。

      NUNU FINE ART is delightful to present the exhibition of Indonesian artist Iabadiou Piko and Belgian artist Stijn Ank for Art Central Hong Kong 2019 on March. Indonesian artist Iabadiou Piko, his creations burst with strong colors and elements, showing its rich internal world. The results of Piko’s artworks demonstrate his extraordinary ability to integrate styles from different culture streams. When it comes to Piko’s painting, visitors may see the freestyle (free spirit), whereas each picture show his great ability to compose elements and material onto the canvas.
      Belgian artist Stijn Ank’s artworks show the precise control of the material and composition, but he intentionally chose not to take full control of how his work will result. Using plaster as the main medium, pouring the pigmented plaster that he picked by intuition earlier into molds layer by layer, so that the artworks were given the maximal autonomy and discretion until the works form naturally.
      Both artists grew up in different cultural environments and were trained in completely different educational systems but still inherited the traits from the previous principles in art history. They shared the same spirit of reflecting on the nature of art, dedicating themselves fully to discover their own idea of the final possible answer in art.

      香港中环艺术博览会
      展期:3月27日至3月31日
      展位:E09
      地点:Art Central
      中环海滨活动空间
      香港中环龙和道9号

      “Controlled Coincidence” by Indonesian artist Iabadiou Piko and Belgian artist Stijn Ank

      伊亚拜迪欧・匹可|Iabadiou Piko
      西班牙巨擘毕卡索(Pablo Picasso)曾经发生一段有趣的轶事:很早即成名的他,每每在自宅创作时,外头总是排满等着被他招见的艺术经纪人。有一次,创作到一半的毕卡索,兴头一起,将在外头苦苦等候的一位艺术经纪叫唤进来,指着自己画一半的作品,告知此人作品将由他代理。这位艺术经纪喜出望外之余,巴结着说,只要完成后,绝对是一件能够大卖的画作。

      没想到此话一出,毕卡索随即冷冷回答,这件作品早已经完成了。

      此番揶揄,固然显示出毕卡索的调皮,但某种程度也不外乎想要告诉世人:在艺术创作过程中,是一个艺术家持续不断地与自己作品的对话和战斗。而透过这样的对话,创作者才能真正将自己带到一个与作品共存的平衡。不过,这样的「过程(Process)」是永无止尽的,也正因为是永无止尽,因此,在什幺时候决定止步,停下画笔,将一路以来的点滴和挣扎忠实地呈现在画布上,正是创作最重要的课题

      日记式的创作语言
      回顾艺术史,最早真正将「过程」如实展现于画布上的是1909年义大利未来主义(Futurism)。未来主义画家们歌颂工业与机械的动能,认为应把万物的运动论运用到画中,表现出万物的动态感。他们喜爱使用重叠与重複的手法,体现世界上的事物总是在不停地运动。到如今,我们仍旧不断看到许多新兴创作者与艺术流派,都希望透过展现发展作品时的过程,体现艺术创作者自古不断追求的真实。

      作为一位将自己绘画视为某种视觉日记的创作者,「过程」自然是伊亚拜迪欧・匹可(Iabadiou Piko)绘画中重要的部分。事实上,本身为摄影学系毕业的他,始终将创作视为记录生活的一种手段。而这样的日记式纪录手法,总让作品处在一个变动的进展之中。如果我们形容艺术创作是一个从0到1的过程,大部分的作品就是最后的结果,然而对匹可来说,他希望呈现给世人的是那段从0到1的一路变化,至于我们最后所看到的作品,也只是这段过程的总合而已。

      此外,「过程」之于匹可,还有另一层意义:就是那股自作品中散发出关于艺术家个人的,私密的内心纠结。从他的绘画中,我们一方面可清楚感受到他的创作历程:颜料的堆叠、线条的发展、色块的交融,而这些元素所构成,一切于画面出现的挣扎和情绪,同时又赤裸裸地呈现在观者眼前。虽然画中的题材皆是艺术家对生活周遭与自然的客观观察,然而这些描绘却又夹杂着匹可主观的力道和个性:线条时而飞快明确,时而蜿蜒曲折; 结构时而紧凑,时而舒容,而画面上那些彷彿可辨的物件和走兽,同时把我们拉进匹可独有的想像世界里。

      有趣的是,当我们面对匹可的一系列作品时,可产生比观看单件画作更深的感受。若仔细阅读,便能发现匹可作品之间有着某种关联性,如同我们书写日记的当下,心情的转折总是持续而非片段破碎的。匹可画作中时常出现类似的图腾或符号语言,而这些元素,直接反映了匹可在此一时期创作的内心想法与冲动。透过一系列画作的欣赏,我们彷若翻开匹可的日记,一窥这位印尼艺术家心中最深处的那一块。

      符号与媒材拼贴
      匹可创作中重要的视觉语言,除了寻常的炭笔、油画与压克力颜料之外,他更大量了使用火山灰与灰泥如此少见的素材。这样的媒材选用,自然与匹可自身的成长背景有关。位居板块交界带的印尼,整个国界内火山活动活跃,而这样的选择,除了与他本身的家乡做连结,我们更可以联想到西班牙艺术家安东尼・塔皮埃斯(Antoni Tàpies)。塔皮埃斯是一位被匹可视为影响自己的最重要创作人物之一。原因除了匹可与塔皮埃斯同样是靠着自学的方式走上绘画的道路之外,作品中将多种材料混合使用,并利用类似拼贴进行媒材混合的手法,也给予了匹可许多灵感和启发。艺术家所投注于材料的精神性,重要性绝不亚于作品背后的论述。如同塔皮埃斯,匹可的画作中,在物质材料肌理的表现上试着融合出一个崭新面貌,事实上,他所创造出的的表面肌理以及对综合材料的直接利用,不仅显示材质不再沦为线条、色彩的附庸,而是具有独立表现性的主角,更说明了艺术家与作品材料之间的互动,亦是使材质展现生机的重要因素。

      同时,在创作中加入了大量符号,亦是匹可与塔皮埃斯极为相似之处。 对于塔皮埃斯来说,这些带有寓意的元素反映了艺术家的内心世界,他对抽象艺术进行创新,结合符号象徵主义,透过这些符号赋予作品意义,同时传达艺术家的思想。而匹可的创作中始终带有相似的影子,他无意对观察的对象进行客观描写或纪录,而是在画面中利用许多符号性的图样,传达自己主观的意念和情感的想像。 匹可曾经表示,由于性格木讷使然,唯有在绘画时,才能真正地展现自己。而画作中时常出现的动物形体,或是兽爪等图像,某种程度也是匹可自己内心真实的转化。而这些象徵的符号,自然也带领着观者,进入这位来自印尼含蓄大男孩所创建的国度,奔驰在他所幻化的自由中。

      There is an anecdote about Pablo Picasso: Due to his early success, Picasso’s house was always filled with art dealers waiting while he was painting inside. There was once that when Picasso was working on an uncompleted painting, he suddenly asked one of the art dealers came in and informed him the painting would be represented by him. The dealer was overjoyed, “Once it is completed, definitely a guarantee of commercial success!”

      Unexpectedly, Picasso only replied with a trace of sarcasm, “This painting has completed.”

      The story above not only reveals Picasso’s naughty personality, but in some ways, he was also trying to tell us: The process of making art is a continuously dialogue and battle between the artist and his/her own work. Throughout such dialogue, the artists can really bring themselves to a balance of coexistence with the work. However, this "Process" is endless, when is the moment to stop, put down the brush, and devote him/herself unreservedly on the canvas?It definitely is the most important lesson in artistic creation.

      Piko's Visual Diary

      If we look back the art history, the earliest to demonstrate “the process" on the canvas was Futurism in 1909. The Futurists admired the speed of mechanism and industrialization, and believed that the kinetic theory should be applied to the canvas, showing the dynamic movements of universe. They liked to use overlapping and repetitive techniques, reflecting the things in the world are constantly moving. Even today, we still can find many contemporary artists and genres, trying to reveal the reality that has always been pursued by these believers through the process of the development of artworks.

      Being an artist who treats his work as a visual diary, “the process" is, of course, an important part in Iabadiou Piko's painting. In fact, with a background in photography, Piko has seen his art as a means of documenting his life. With such diary-style technique, he situates his work in an shifting position. If we describe the process of artistic creation as a process from 0 to 1, most of the artists focus on the final result. However, for Piko, he tries to present the process from 0 to 1 instead, and as for the finished piece, is nothing more than a summary of this journey.

      In addition, “the process” has another meaning for Piko: The internal intimate tangles of the individual artist emitting through the art pieces. Through his paintings, we can clearly perceive his creative journey: the heap of paints, the trend of lines, the blending of colors, and all these elements, along with artist’s struggles and emotions, are entirely exposed to the viewers. Although the scenarios on the canvas are the artist's objective observation of the surroundings and the nature, they are subjectively mixed with Piko’s energy and personality. The lines are sometimes definite, sometimes distorted; the structure is sometimes compact and sometimes loose, accompanied by those discernible objects and beasts, drag us into Piko’s unique imaginary world.

      Interestingly, when we face a series of Piko’s paintings, we sense a deeper impact than watching the single piece. If you read the images carefully, you will realize that there is a connection between each of his individual work. Similar to keep a diary, the feeling expression is not fragmental but Interrelated. The totem or symbolic languages randomly appear in Piko's paintings direct reflect his inner thoughts and impulses. Through the paintings, we seem to open up Piko’s personal diary and have a glimpse of the deepest part of the Indonesian artist's mind.

      Symbols and Compound

      In Piko’s painting, aside from the ordinary media such as charcoal, oil paints and acrylics, he also employs many rare materials like volcanic ashes and bitumen. The usage of these elements, undoubtedly relates to his motherland. Indonesia, which lies at the intersection of several tectonic plates, has intensive volcanic activity. Except for the connection with Piko’s country, it also reminds us the Spanish artist Antoni Tàpies. Piko is profoundly influenced by Tàpies. Aside from the similarity of self-taught in art from both ends, Tàpies’ way of using a variety of materials in the work also inspires Piko. For an artist, the importance of the materials that the artist put into their works from the spiritual perspective would not be evaluated inferior to the thesis within the artworks. And just like Tàpies, Piko tries to create a brand new aspect by mixing the texture of the physical materials that he'd been used. In fact, the texture surface he came up with and the direct usage of comprehensive makings would reveal not only the streak and the hue of themselves but the role of independent expressions. It also shows that the interaction between the artist and the media is also an important factor to allow the work unfold its vitality.

      In addition, adding a large amount of symbols in the work is another similarity between Tàpies and Piko. For Tàpies, these moral elements reflect the artist’s mental views. He combined the abstract art with symbolism, gave meaning to the works by using the symbols, and conveyed the artist’s idea. Piko's painting shares the feature. He does not intend to objectively describe or record the objects, instead, he uses many symbolic patterns to convey his own subjective thoughts and emotional imagination. Piko once mentioned that due to his introverted personality, It was only in the moment when he draws that he could let his hair down. Also, the images of animals or claws in his works are the metaphor of his inner world in some ways. These symbolic elements naturally lead us to get into the world created by this reserved, Indonesian boy, allowing us to roam through his dreamy fantasies.

      史 丹・安 克|Stijn Ank

      建筑设计背景出身作品有着能与空间对话的灵性

      来自比利时的艺术家史丹・安克(Stijn Ank)出身建筑设计,在转为专职艺术家之前,他以高开放性、强调线条延伸性的建筑闻名,无论是2012年于阿斯佩拉尔完成的《折叠Folding》,或是同年于布鲁塞尔西北改建的公立中等学校《视野Vision》,都可以看出安克对空间掌握力的纯熟与洗鍊,而这样的背景也让他的艺术作品有着与空间对话的灵性。
      自建筑设计跨足纯艺术领域的创作者并不少见,如将极简主义延伸至立体雕塑的极简主义大师托尼・史密斯(Tony Smith)、以奇特而不规则线条闻名的现代主义建筑大师法兰克・盖瑞(Frank Gehry)等,都是很好的例子。而对安克来说,创造建筑与艺术品有着同样初衷——这不只是一个物件,而是一个能与「人」互动对话的窗口。

      Ank’s body of work can be considered as an extensive research into the relationship between matter and void and the various ways in which contemporary sculpture can be defined in relation to its surrounding space.

      He creates a mold with a variety of materials such as wood, aluminum, lead and rubber marking off the boundaries of a certain chosen space, which he then casts in plaster. During the casting process Ank mixes pigments with the liquid plaster, letting the material render their ultimate appearance. The works created by this process are both fragile and robust, delicate and solid, light as a feather and heavy as lead.

      For Ank his works are not merely sculptures placed in space but 'stances' or 'subjects' that appear out of the space itself. They do not refer to any reality or to themselves as objects and define themselves on the basis of the relationships with both the viewer and the space thus continuously changing.

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