十方駐留 | 《蜃獨》藝術家呂昶個展

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■ ■ 策展人前言■ ■

Curator’s Foreword

中西方無數先哲求真愛智，或以邏輯構築“至真”的理性，或以超驗直觀“至善”的感性、以顯現為存在“至美”的人生。藝術創作之所以神秘，它是人生的蹊徑，在於它以感性直觀為路徑，向人們直接展示理性不可觸碰的形而上圖景。文學是文字的藝術，它總能超越基本語言形態，直接給予人們精神的共鳴，藝術家呂昶正是被那些神奇的文字所感動，並試圖通過視覺藝術與這些偉大精神進行跨時空的對話。

二十一世紀是一個東西方文明激蕩的時代，兩種悠久文明的底層意識持續衝撞，亦成為了當今我們認識世界的基本底色。西方哲人對於個人之“自由”這一“終極關懷”竭力通過理性辨析探尋究竟，而東方思想家看似並不糾結於此，以玄之又玄的文質彬彬呈現著自我與存在的感悟。藝術家呂昶創作思考當中同樣存在這兩種意識流變，但其深層意識更傾向於東方，感性、靈感、幻想作為其藝術創作的主要動力。

在這次重慶駐留中，呂昶依舊在延續關於“潛意識”、“情感”精神領域的探索，挖掘人與人產生非語言式精神交流的存在。比起研究東西方文學著作作為理論支撐，呂昶更像在神遊其中。這次，她穿梭於西方文學著作抽象世界和重慶獨特現實世界，獨行於蜃幻之中，藝術家以此經歷命名為“蜃獨”。

——何京

■ ■ 藝術家自述 ■ ■

Text by the Artist

《夢溪筆談》中沈括寫道，先當求一敗牆，張絹素訖，倚之敗牆之上，朝夕觀之。觀之既久，隔素見敗牆之上高平曲折，皆成山水之象。心存目想，高者為山，下者為水，坎者為谷，缺者為澗，顯者為近，晦者為遠，神領意造恍然間見其有人、禽、草木飛動往來之象，了然在目。我偶然間與這篇故事相遇，豁然開朗。

海市蜃樓，光線折射在海面的街市抑或是天上的街市，蜃，《史記•天官書》：“海旁蜃氣象樓台；廣野氣成宮闕然。獨，孑孓獨行，所謂，蜃獨。

我一直都對志怪有著莫名的好感，就像打開平行世界的另一扇門，不論是百鬼夜行中的各路妖怪，還是洛神賦中衣袂飄飄的仙子，彷彿游離在幻境，正如聊齋–畫壁中所云，書生趕考夜宿一古寺，菩薩眉眼低垂，不覺間恍入仙境，天女散花，千幻並作。世間本是幻象抑或幻象皆為本心，凡所有相，皆是虛妄，一切有為法，如夢幻泡影。

我總是習慣在黑夜裡獨行，夜晚的黑色是五彩斑斕的顏色，像萬花筒般絢爛著。白天，適合迷迷糊糊的清醒著，抑或是清醒著迷迷糊糊的做夢。我一直活在自己的小世界裡，想了半天也不知道自己到底想說什麼，想畫什麼，想做什麼，其實迷迷糊糊或許是我個人最真實的狀態吧，無所謂其他，就這樣喃喃自語～

在日常的創作過程中，我覺得作品的偶然性是一種驚喜。因此，工作可能未完成，處於進展狀態，往往存在許多碎片化的矛盾和混亂。我不認為有任何具體的創作。在項目中，我只展示了最近幾個月實驗的狀態，我所度過的這段生命。在過程中，在不斷試錯的狀態下，嘗試更新我對藝術和生活的理解，讓藝術和生活呈現交融的狀態。生活的浪漫在於不確定性，未知具有獨特的美感。

最終，展覽的偶然、隨意、拼貼的形式，似乎帶走了這段特殊的時光，凝固在了作品裡。

——呂昶

I am trying to translate ancient Chinese language, this is my understanding of this commend written by Kuo Shen in Song Dynasty. He said, ‘You should first find a broken wall, finish laying a piece of white silk, hang the white silk on the broken wall, and watch it sooner or later. It’s been a while since I watched it, and I saw the wall across the white cloth. Observe carefully: the high is the mountain, the low is the water; the ridge is the valley, and the lack is the mountain stream; the obvious is the near view, and the fuzzy is the distant view. Suddenly you will understand and clearly see the sight of people, birds, and trees flying around.’

The mirage, the light reflected on the city on the sea or the sky, mirage, “Historical Records • Book of the Heaven”: “A meteorological tower on the seaside; a vast and wild gas into a palace—called mirage.”

I have always had an inexplicable affection for fictions and famtasy, just like opening another door to a parallel world, whether it is the various monsters in the night of the Hundred Ghosts or the fairy in the Luoshen Fu, as if floating in an illusion, just like Liao Zhai-what is said in the painting wall, a young man stayed overnight in an ancient temple. The Bodhisattva’s eyebrows were drooping, and he suddenly fell into a fairyland. The goddess scattered flowers and made thousands of illusions. The world is originally an illusion or an illusion is based on the mind, all appearances are vain, and all active methods are like dream bubbles.

I’m always used to walking alone in the dark. The black at night is a colorful color, which is gorgeous like a kaleidoscope. During the day, it is comfortable for being awake or dreaming. I have been living in my own fanstasy world. I have thought for a long time and I didn’t know what I wanted to say, what I wanted to paint, and what I wanted to do. In fact, being confused may be my truest state. It doesn’t matter. Others, just mutter. Muttering to myself~

In the daily creation process, I think the contingency of the project is a kind of surprise. Therefore, the work may not be completed and in a state of progress, and there are often many fragmented contradictions and confusions. I don’t think there is any specific creation. In the project, I only showed the state of the experiment in the last few months, the period of my life. In the process, under constant trial and error, trying to update my understanding of art and life, so that art and life are in a state of integration. The romance of life lies in uncertainty, and the unknown has a unique sense of beauty.

In the end, the accidental, random, and collage form of the exhibition seems to have taken away this special time and solidified in the work.

■ ■ 藝術家介紹 ■ ■

Introduction to the Artist

教育背景︱Educational Background

2020年畢業於四川美術學院獲學士學位

2020-2021英國皇家藝術學院-藝術與人文研究生在讀

Graduated from Sichuan Academy of Fine Arts with a BA degree in 2020

2020-2021 Royal College of Art-Graduate Students of MRes—Fine Art and Humanities

關於本次駐留︱Aboutthis Residency

我的駐留計劃基於我對身體，空間和記憶有關的研究。置入空間這個概念意味著有意識的通過感官來構建具體的實地體驗並與空間，建築，環境產生聯繫。或者，通過我們對時空的體驗來回歸自己本身。我們如何將自己從內部帶到外部，反之亦然？

感覺是經驗的一部分，也是構成概念的一部分。但是，將感官與感覺分開的是被整合到感官中的稱為情感的元素。外部世界為引導情感的感覺和思考提供了環境。

「實際上，所有的感覺已經是記憶。」亨利·伯格森（Henri Bergson）正如福柯所說，身體是中心對象。由包括視覺作為觀看的主要視角的感官引起的對物理世界的引用創造了一條從潛意識到記憶的路徑。

總而言之，通過這次駐留，我想通過實踐來建立方法論，並通過各種媒介和材料來探索我的研究問題。

My Residency Plan is based on my research interest. I am curious about the sensory experiences which associated with bodies and memory. The reality via collaborations of senses are strengthened by environmental interaction. Paying attention to space which means intentional living center through bodies to construct embodied experience. Otherwise, paying attention to ourselves with our multi-sensory to transfer the way of feeling. How do we bring ourselves from inside to outside or vice versa?

Sensation is a part of experience, as well as perception and conception. However, what distinguishes the senses from them is the element called emotions which are integrated into senses. The external world provided the environment for feeling and thinking to direct the emotion. As Paul Ricoeur pointed, Feeling is kind of without doubt intentional: it is feeling of something-The lovable, the hateful (for instance). An intention can be felt as an affection to weave the emotions into experience.

“In truth, all sensation is already memory.” Henri Bergson.As Foucault mentioned, Body is the central object.

The reference of the physical world caused by senses including vision as the main perspective of viewing create a path through the subconscious to the memory.

In summary, I would like to establish the methodology via practice and explore my research questions via working through various medias and materials.

以往作品介紹︱Introduction to Previous Works

在我就讀於四川美術學院綜合藝術專業的四年中，我接觸到了東西方多樣化的創作方法。這種文化的跨界，以及它們所體現的傳統與當代的概念，不斷豐富著我對藝術實踐的語境理解。這種多層次的理解，讓我對藝術、文學和哲學的重疊越來越感興趣並將應用在以後的創作中。我廣泛閱讀，並尋求跨學科的工作。繪畫是我繼續創造的主要媒介，但我希望通過創新、實驗和合作來擴展我與繪畫的關係。

During my four years as an undergraduate student of Synthetic Arts at Sichuan Fine Arts Institute I have been exposed to creative methods from both western and Chinese traditions. This straddling of cultures and the notions of traditional and contemporary they embody continues to enrich my contextual understanding of art practice.

This rich contextual understanding has made me increasingly curious about the overlaps between art, literature and philosophy. I read broadly and seek to work across and between disciplines.Painting continues to drive my practice but I wish to challenge and extend my relationship to painting through innovation, experimentation and collaboration. I have worked with a curator whose interest in place and space situated a series of my paintings at locations around the campus. This re-contextualisation of my work made me re-consider the ways in which my paintings can be encountered with time and space via various methods.