■ ■ 策展人前言 ■ ■
Curator’s Foreword
旁白：
自然始終，本無邊界，邊界從人的觀念中被創造，顯現在畫面邊緣，地圖界限與黑白分野之中。邊界被創造的過程本身，證明著人的存在。對於藝術家Archie而言，繪畫像是一種專門觀察日常的方式。日常平凡且瑣碎，紙張、雜誌、票據、塑膠袋與餐巾紙等，這些出現在生活中且能夠回歸到畫面上的物件都被自然地保存下來。在空白畫布上，材料、色彩與念頭相互堆疊。“一層，嗯……又一層，不對……再來一層，再試試看……”無數層堆疊後，每個念頭並無對錯，每個念頭也都真實。直到某刻欣然接受，便可重拾起新畫布。這過程如同日常不斷往復，而由瞬間所構成的日常恰是我們僅存的時空。
我常想：這些作品觀眾一定看得懂嗎？策展人一定能理解嗎？藝術家一定想清楚了嗎？或許都不一定，這是藝術語言個體化的自然結果，或許並無終點。由於作品源自於藝術家的生命日常，因此所有信息、人物、故事與價值都必然以某種形式進入平面，而沒有任意一者能夠主宰這個平面。在如今動盪不安的世界與紛繁複雜的信息中，能夠通過一種媒介將一切彙聚起來，慢慢地堆疊，漸漸地理順，的確顯得彌足珍貴。如同一眼古井，暴雨時雨水帶著泥沙湧入顯得渾濁不堪，乾旱時水分隨著陽光蒸發卻清澈見底，天地變化與世事變遷在這泉中皆可觀見，但是卻以極其微小且日常的方式展現出來。
藝術家創作時始終以孩童般的好奇心探索著媒介的一切可能，但同時也能放下作品，讓過往的創作與上一秒的世界一起過去。不留戀過往，也不幻想結果，這使得繪畫成為藝術家生命存在的自我印證。更可貴的是，這樣的價值也被他傳遞給了一群喜愛創作的孩子們……
Nature, in its essence, has no boundaries. Yet boundaries emerge from human concepts –at the edges of canvases, within borders on maps, through the distinction of black and white. The very act of creating boundaries becomes proof of human existence. For Archie, painting serves as a specialized lens to observe the everyday life. Daily life is ordinary and trivial–paper, magazines, receipts, plastic bags, napkins – these ordinary objects that can find their way onto the canvas are naturally preserved. Upon blank canvases, materials, colors, and thoughts accumulate in layers. “One layer, hmm… another layer, no… try again, another layer…” Through countless overlays, each thoughts are neither right nor wrong, and each thoughts are all true. Until the moment of acceptance arrives, he begins with another fresh canvas. This process mirrors daily life’s cyclical repetitions, yet our existence lays within this accumulation of transient moments.
I often wonder: Will viewers comprehend these works? Do curators truly grasp them? Has the artist fully expressed his ideas? Perhaps not necessarily–this being the natural consequence of individualized artistic language may never be concluded. As works originate from the artist’s daily experiences, all information, figures, narratives and values inevitably merge into the two-dimensional surface, yet none claims dominance. In this turbulent world and information overload, the act of gathering and gradually organizing through a single medium is indeed precious. Like an ancient well, the rain packed with mud surges into the well during storm, yet water evaporates and turns crystal clear under the blazing sun. The cosmic rhythms and changing world all can be seen through very subtle changes with in this small well.
The artist maintains childlike curiosity in exploring medium’s possibilities while also not fixating on completed works, letting past creations dissolve with time. Neither clinging to what’s made nor fantasizing about outcomes, painting thus becomes self-verification of the artist’s own existence. furthermore, this concept has been imparted to a group of young children who share the passion for art creation…
“早餐一碗小面，配上一杯塑膠杯裝著的珊瑚色的茶水。三名系著花卉圍裙的女子經營這家小餐館。”（停頓）
“《禪與摩托車維修藝術》。小餐館牆上的照片裏，一位女士和丈夫騎著越野摩托，背景是鄉野。”
“一卷越南膠捲沖洗完畢，掃描件順著網路電波傳來。圖像是嶄新的，但内容卻很陳舊。”（聳肩）
“窗景中的跳格子遊戲。被不同色溫的燈光照射著，別人也在上演自己的故事。歌手抱著吉他登場。音箱裏放著《1812序曲》，穿校服的孩子們正在做操。”
（漫畫先生登場。他是皺皺巴巴的剪紙人，從舞臺側翼走過來。）
“在二維世界裏，被漫画家的鋼筆勾勒出來。一位画家一手握著油漆刷，一手提著一桶左搖右晃的白色油漆桶順著梯子向上爬，如烈日般在他的紙制宇宙中炸開。”
（說完後，他給自己塗上膠水，將自己貼上一幅黃色畫作。）
“邊界。我在宣紙上畫下無數雲朵，再剪下它們。繪畫就是為物與像構築邊界。”
“我吃著豬蹄。將取出的骨頭裹進紙巾擱在桌上。紙巾邊緣顯出黃色油漬，被湯汁浸透的部分變得透明。”（停頓）
“我在雨中散步。木棧道穿過潮濕的森林，上面的積水很滑。雨水像鼓聲敲打著傘面，並從被樹枝戳破的洞一滴滴漏下。”
“灰機，飛機像世界大賽的飛鏢，而跑道則像飛鏢靶上20分的三倍區。不過顯得更小更難中。剛筆，鋼筆在飛機上寫不出字，所以他們才發明了圓珠筆。”
“這車靠打嗝驅動。粘稠的聲音在胃裏翻湧，氣體從牙縫中吹出聲響。”
（把圖像從手機圖庫塞入數字空間，標注好日期，然後揉成一團扔進駛向太陽系邊緣的垃圾火箭裏。）
“別磨蹭，精髓在當下而非事後的遮掩。等到那時候，你的畫作早已經死了。”
（暮色中，他坐在塑膠桌旁用筷子吃著燒烤。扭來扭去的桌子立在紙巾山、煙蒂堆和空酒瓶搭成的寶座上。）
（夜幕降臨。鐵絲掛著的三個滿月與日食圖案出現——他們帶著老影星的面具登場）
“玫瑰在沿河岸的公路邊盛開。我常在深夜駐足輕嗅。”（響亮吸氣聲）
SEESAW by.ARCHIE NASH
Scene 11 (FINAL):
SETTING:
Exhibition space. Various painted backdrops are
visible in bright colours depicting abstract scenes
drawn from the previous 10 scenes
that have passed since the start
of the play. People walk around
and murmur to each other.
Characters from earlier scenes
appear within the people and speak
alternately. (Spotlights light
each character as they speak
facing the audience)
“Xiaomien for breakfast with a plastic cup of coral coloured tea. Three women in floral aprons run the café.”(Beat)
“Zen and the art of motorcycle maintenance. A photo on the café wall depicts one lady and her husband in a rural area atop an offroad motorbike.”
“A Vietnamese roll of film is developed, and scans are sent over internet waves. The images are new, and the content is old.”
“Limbo game with a window view of other windows. Other people playing their own stories, back lit by lights burning in a range of kelvins. A singer arrives and plays guitar. The 1812 Overture blasts out of speakers while uniformed children exercise.”
(Mr Comic Strip, appears. He’s made of cut out paper and crinkles as he walks from the wings).
“In a two-dimensional world, outlined in the pen of a cartoonist. A painter climbs a ladder with a roller and a bucket of white paint topples, exploding like a sun on his paper world.”
(After speaking he applies glue to himself and attaches his body to a yellow painting).
“Edges. I have been drawing clouds on rice paper and cutting them out. Painting is the construction of edges around objects and images.”
“I eat. Placing the bones from a pig’s trotter in a tissue on the table. Tissue edges stained yellow and transparent with drips of soup. (Beat)
“I take a walk in the rain. The boardwalk cuts a path through wet forest and is slick with puddles. Rain drums against my umbrella and drips through a hole ripped by a twig.”
“Airoplain Aeroplanes fly like darts in the World Series. The runway is like the treble 20. But smaller and harder to hit. Fowntin pens don’t work on planes. That’s why they made Biro’s.”
(Full of grammar mistakes, he climbs into a taxi at the airport concourse)
(Craning his neck around the headrest)
“This taxi runs on burps and belches. Sickly sounds bubble up from the stomach and the gas escapes with the sound of air blown through teeth.”
(Winking with a toothy smile)
“Special engine with an organic turbo whistle.”
(He drives out of the scene in his yellow taxi. The exhaust farting as he does).
(Shuffling images from phone galleries in digital space, meticulously dating each one and then crumpling it up and throwing it into a wastepaper rocket set for the Oort Cloud).
“No noodling, the juice is in the present not the post-mortem cover-up. The painting is already dead by then.”
(Early evening light. He sits at a plastic table eating barbecue with chopsticks. The flimsy table is on a throne of soiled tissues, squashed cigarette butts and empty bottles.)
(Night falls. 3 FULL MOONS and a SOLAR ECLIPSE enter: suspended on cables. Their faces belong to aged movie stars)
“The roses line the side of the highway along the river. I stop and smell them at night.”(Loud sniff).
(The lights dim, and the scene ends. People resume their activity as before).
Archie Nash (GB) Solo Resident Exhibition
展覽開幕 Opening：2025.5.17 19:00
2025.5.17-6.1 14:00-18:00
（每週五至週日｜Every Fri. to Sun.）
Exhibition Hall A, Dimensions Art Center, Chongqing, China
藝術總監｜Art Director：曾途 Zeng Tu
展覽策劃｜Curator：牛琦瑋 Niu Qiwei
策展助理｜Assistent Curator：張芷霏 Zhang Zhifei 張雯涵 Zhang Wenhan
執行統籌｜Coordination：劉暢 Liu Chang
展覽協助｜Assistance：劉春利 Liu Chunli 胡克 Ben
海報設計｜Poster Design：阿奇·納什 Archie Nash
駐留藝術家簡歷︱Resume of Artist：
阿奇·納什（Archie Nash，生於2001年）於2024年畢業於布萊頓大學美術（繪畫）專業。他主要是一位畫家，通過從外部觀察文化，收集各種圖標、物體和感受，編織成一幅幅新的世界圖景，記錄著新世界的構建。
Archie Nash (b. 2001) graduated from the University of Brighton, Fine Art (Painting) 2024. Foremostly a painter he documents the building of new worlds through a tapestry of found icons, objects and sensations gathered by the observation of culture from the outside in.
無論是遠行還是近處的旅行，個人經歷都在他的作品中得以保留。從卡通臉龐中提取的一條線條，或是從溝槽裡撿到的名片上的裝飾邊框，與「偷」來的色彩領域和圖案交織在一起，融合成一個充滿參考材料的濃稠混合物。
Personal references retained through travelling, both far from home and on the doorstep reveal themselves in the work. A line taken from a cartoon face, or the decorative border of a business card from the gutter, tread amongst colour fields and patterns stolen by looking, coalescing into a soupy mixture of reference matter.
剪貼簿是他日常創作的一部分。每一本書都是手工製作、裝訂並填充，作為一段時間的圖像日記。它成為一個創意索引，可以在工作室與外部世界之間轉換時被提取並重新融入。
Scrapbooking is a daily part of his practice. Each book hand-made, bound and filled as an iconographic diary for chapters of time. It becomes a rolodex of ideas which can be plucked and re-entered as they translate between the studio and the outside world.
每一層重新處理過的多層表面都蘊含著分層的時間，並呈現出一幅拼湊而成的興趣歷史。這些時刻以形式、色彩和工作室廢料的形式被追蹤，通過繪畫、拼貼或散落的方式融入複合圖像中。它們是臨時的、匆忙的，充滿了零碎的細節。繪畫既是謊言，也是真相，是視覺的虛構與真實。
Each reworked, multi-layered surface contains stratified time and offers a patch-worked history of interests. Moments tracked in the forms, colours and studio trash painted, pasted or littered into composite pictures. Provisional and posthaste. Nuts and bolts. Painting as lies, truths and fictions of seeing.
展覽預覽︱Exhibition Preview：
藝術家Archie與巴蜀常春藤小學的小小藝術家們一起共創完成的作品
藝術家以往作品︱Previous works of the artist：
裝置照片 // Installation photo
Oil, Acrylic, Collage, Ink, Pigment, Glue, Paper on Canvas
裝置照片 // Installation Photo
Rabbet畫廊 // Rabbet Gallery
郵箱 : info@chongqingdac.org
Instagram：dimensionsartcenter
Website : chongqingdac.org
Email : info@chongqingdac.org
Instagram：dimensionsartcenter
Facebook : Chongqing Dimensions Art Centre & Chongqing Artists In Residency
Address : Huangjueping GuanJiaLin 190, Jiulongpo, Chongqing, CN.
