一個線程一個裂口一個種子

a threada rip, a seed



    一個線索把我們聯繫在一起;現實中的一個裂縫為理解的種子提供了一絲生機。

    A thread binds us together; A rip in the fabric of reality allows for a seed of understanding.


十方展覽現場  | Exhibition Scene at DAC


    史提芬·穆霍爾在他的論文《檸檬有多複雜》中,探討了給事物命名的哲學困惑。在本體論相對抽象的哲學領域裏, 感知、關聯、確定主題和對象的複雜性同樣適用於真理、藝術、語言和宣傳的討論。

    Steven Mulhall, in his essay ‘How complex is a lemon?’ speaks of the philosophical quandaries around naming things as they are. In the fairly abstract philosophical realm of ontology, the complications around perceiving, relating and determining subjects and objects can be similarly applied to discussions on truth, art, language and propaganda. Mulhall says:



“尼采聲稱真理是一支流動的隱喻軍隊:

因為我們對世界的描繪是經過

多重斡旋的產物,為假定其準確性而將

一系列明顯不相同的現象等同起來。

因此,他們只能歪曲他們聲稱代表的現實。”

 

“Nietzsche claims that truth is a mobile army of metaphors: because our representations of the world are the result of multiple mediations, assuming their veracity involves imputing an identity between a series of phenomena that are patently not identical. Hence they cannot but falsify the reality they purport to represent.”


 -Mulhall, S. ‘How Complex is a Lemon?’ 

London Review of Books, Vol. 40, No. 18

 -穆霍爾,S.《檸檬有多複雜?》《倫敦書評》,第40卷,第18期。


十方展覽現場  | Exhibition Scene at DAC


    當我們以這種方式看待世界時,二元的主體-客体關係會陷入一種三元關係中,即穆霍爾所說的主體、感官對象和真實對象之間的關係。真正的客體退在感官客體(客體的外觀)及其感官屬性之後,因為真正的客體(其本質)的真實本質僅僅是一種智力建構。佛教哲學認為,主客體關係的二元性也不能涵蓋一切事物的相互關聯和內在聯繫的本質。在元素層面上,我們既是主體又是客體。

    When we approach looking at the world in this way, the binary subject-object connection becomes entangled in a 3-way relationship, between what Mulhall calls the subject, the sensual object and the real object. The real object withdraws behind a sensual object (the appearance of an object) and its sensual properties, as the true nature of the real object (its essence) is merely an intellectual construction. According to Buddhist philosophy, the binary nature of subject-object relations also fails to encompass the inter-related and intra-connected nature of all things. On an elemental level, we are simultaneously subject and object.


蘇格蘭藝術家Ginny Elston 女士 | Scottish Artist Ms. Ginny Elston


十方展覽現場  | Exhibition Scene at DAC


十方藝術中心總監曾途先生 | DAC Art Director Mr. Tu Zeng


    蘇格蘭藝術家金妮·埃爾斯頓於4月27日在十方藝術中心舉辦了個人畫展《一個線程,一個裂口,一個種子》展覽將持續至5月12日,期間歡迎朋友們到訪十方藝術中心觀展。本次展覽探討了這些關於可及性、真實性和可視性的概念。通過繪畫、絲綢和線等材料語言,她質疑了秘密和隱私的本質,什麼是被隱藏的,什麼是保被護的,什麼是被掩飾的,什麼是被揭示的,情願或不情願地。中國的風景,尤其是山的象徵,成為人們探索真理和現實的工具。

    These notions of accessibility, truth and visibility are interrogated in Scottish painter Ginny Elston’s works, in her solo exhibition ‘a thread, a rip, a seed’, opening on Saturday 27th April at the DAC. Through the material languages of paint, silk and thread, she questions the nature of secrecy and privacy, what is hidden, what is protected and also what is concealed and what is revealed, willingly or unwillingly. The Chinese landscape, and the symbol of the mountain in particular, becomes a vehicle through which one can explore truth and reality. 


十方展覽現場  | Exhibition Scene at DAC


    繪畫的語言,它的過程,結構,模式和圖像,似乎是一種非常適合藝術家傳遞特定感覺或狀態的方法,這些感覺或狀態清晰但又難以界定。通過藝術家的眼睛,繪畫成為了一種無聲的語言,一種闡釋她在中國生活經驗的必要途徑,同時也與人類的核心精神或本質聯繫在一起。將顏料與粘合劑進行繪製、推拉、稀釋、粘貼、刮擦、滴落、潑灑、浸泡的行為,在表面上留下了一系列引起共鳴的痕跡,這在21世紀仍然是一種原始且神奇的體驗,它的存在對於快節奏的數字時代來說顯得尤為重要。她的畫作似乎傳達了旅行時在風景中體驗到的力量與存在感,亦呈現了她在工作室創作時更具私密性的心路歷程。談到她的創作,金妮說:

    “對我來說,藝術創作往往意味著進入一個心靈地帶,在這裏你要直面自己最深刻、最私密、最不安的一面。當你在工作室裏度過幾天、幾周和幾個月的時候,自然起伏的情緒會帶你走上一段深刻反思的旅程,其中包含了無數的心理狀態:懷疑、遲鈍、短暫的愉悅、深刻的滿足和堅強的毅力。在這些短暫的狀態中,我們經常遇到自己最脆弱的部分,可能是在我們被恐懼所麻痹時,也可能是在被突然的焦慮所征服時,亦或是因好奇於我們正在做的事情而興奮時。在藝術創作時,我們觸及了我們最深的恐懼,我們意識到,體現和描繪變化無常的狀態構成了我們作為藝術家的生活。”

    The language of painting, its processes, its structures, its modes and its imagery, seems a very suitable method for the artist to transmit specific feelings or states that are at once definite and yet indefinable. Through the eyes of the artist, painting becomes a type of pre-verbal language and a necessary conduit to speaking of her experiences of living in China, whilst also connecting to a core spirit or essence of being human. The physical act of painting, of pushing, pulling, diluting, pasting on, scraping off, dribbling, dripping, pouring, soaking and staining pigments with binder in that leave a series of marks on a surface that resonates is still a primordial and magical experience to witness, and one that seems more important than ever to retain in the fast-paced, digital era of the 21st century. Her paintings seem to present the power and presence of a journey undergone physically, out in the landscape, as well as providing a more intimate diary of the more personal journeys of creating and making that the artist has undergone in the studio. Speaking about her practice, Ginny says:

    “An artistic practice to me often means stepping into a zone where you are faced with your deepest, most intimate and often most uncomfortable aspects of yourself. As you spend days, weeks and months in your studio, the natural wave of rising and falling emotions takes you along a journey of deep reflection, which contain a myriad of mental states: doubt, dullness, momentary elation, profound contentment and perseverance. In these transitory states, we often meet the most vulnerable parts of ourselves, whether we are sometimes paralysed with fear, overcome with sudden anxiety, or elated with a fragile sense of wonder about what it is we’re doing. In practicing our art, we touch our greatest fears and we realise, embody and map the altering states of impermanence that make up our lives as artists.”


藝術家Ginny Elston 在四川美術學院 | Artist Ginny Elston at Sichuan Fine Arts Institute


    穆霍爾還說道,“海德格爾總是強調,關於事物真實存在的某些東西必然會從我們這裏消失。”在她的作品中,我們可以清楚地認識到,有些東西必須對我們隱藏起來;作品中一些安靜、神秘的部分被放在我們無法觸及的地方。藝術家進一步評論道:“那些遠離我們、給我們的生活增添了神秘和美麗的事物,以及那些故意蒙蔽我們的眼睛、使我們看不到真相的事物之間是多麼的遙遠。”

    Mulhall continues, “Heidegger always emphasised that something about the real Being of things necessarily withdraws from us”. What becomes clear in her work is the acceptance that some things must necessarily remain hidden from us; some quiet, enigmatic part of the work is kept just out of our reach. The artist further remarks: “what a distance between that which is kept from us and which adds mystery and beauty to our lives, and that which deliberately veils our eyes from seeing things as they really are”.


    通過從蜀繡中汲取靈感以及參觀佛教寺院,我們看到很多中國的象徵元素在她的作品中得以體現。高度裝飾的刺繡作品、複雜而詳細的帶有重複符號和標誌圖案的地形畫,體現了她在寺院等聖潔之地發現的密集的、多彩的、極富裝飾性的藝術品。董其昌是中國學者、畫家、書法家、明朝藝術理論家,他的作品也與作者產生了共鳴,這體現在她的傳統山水畫及以“奇”、“正”為原型的作品中。這兩個要素是指繪畫傳統和繪畫這個本身充滿創造性的行為。“奇”在這一語境中意味著起初差異或怪異,不平衡的狀態,但最終是具有獨創性的。“正”主要翻譯成中心的或筆直的,但也是有規律的、恰當的、誠實的。但當它們結合在一幅畫中時,藝術家成功地在其獨創性上獨樹一幟,並使其滲透著風景畫豐富的知識遺產。並且,更具活力的、更大面積的畫布和卷軸上帶有的密集條紋層,模糊並隱藏了部分文字、圖像和圖案,同時使我們可以透過這些窗戶窺視一個外國人在中國的生活。

    Taking influence from Shu embroidery techniques, as well as visiting Buddhist temples and monasteries, we see many symbols of China finding their way into the artist’s work.  Her highly ornamented thread works, and intricately detailed topographical paintings of the land that feature repeated patterns of symbols and signs, speak of the visually dense, colourful and decorative artworks found in temples and places of spiritual sanctity. The work of Dong Qichang, Chinese scholar, painter, calligrapher and art theorist of the Ming Dynasty, has also resonated with the artist, as can be seen in her traditional mountain scenes and her works based on the characters 奇 (Qi) and 正 (Zheng). These two elements refer the traditions of painting and the creative act of painting itself, where 奇 Qi in this context means firstly difference or oddness, the state of being unbalanced, but ultimately original. 正 Zheng primarily translates as central or upright and straight, but also regular, proper and honest. Both properties individually brought forth messages that were rich in value, meaning and composition, however when they were brought together in one painting, the artist had succeeded in making an artwork unique in its originality, whilst also being seeped in the rich knowledge and heritage of landscape painting. Meanwhile, the more dynamic and larger canvases and scrolls feature dense layers of stripes which in part obscure and hide words, images and patterns, whilst also allowing us to peek through these windows on to living life as a foreigner in China.


十方展覽現場  | Exhibition Scene at DAC 


    藝術家說:“藝術作品中有關直覺、潛意識和意義的神秘空間總是讓我困惑。藝術品中總有一部分我們鞭長莫及,總有一部分語焉不詳。豐富的微小資訊和含蓄的意義通過一件藝術品來傳遞,而這件藝術品往往超越了我們的意識和識別、解釋、理解的能力。對我來說,正是這種觸不可及,這種遙遠,使得一件藝術品的某部分不被染指、活力依舊,即使它的所有其他含義和聯繫都已被消耗殆盡。我們理解中的無形、無意義、無法觸及、空間和空白是強大的,充滿了魔力。”

    The artist says: “The mysterious, enigmatic space around intuition, subconscious and meaning in an artwork always puzzles me. There’s always a certain part of an artwork that remains remote to us, there’s always a little left unsaid. Copious tiny messages and implicit meanings transmit themselves through an artwork, which often transcend our consciousness and ability to recognise, interpret and understand. It’s this untouchability, this remoteness, that will always keep part of an artwork alive and unscathed for me, unanalysed, when all its other meanings and associations have become exhausted. The formless, the meaningless-ness, the beyond-reach-ness, the space, the gap in our comprehension is potent, full of magic.” 

文 / Ginny Elston

現場拍攝特別鳴謝 / Ginny、任長松、程緒楠、何京




■ ■ 展 覽 開 幕 現 場 ■ ■ 

Exhibition Opening Scene



 十方展覽現場  | Exhibition Scene at DAC 





■ ■ 展 覽 部 分 作 品 展 示 ■ ■

Part of Works in the Exhibition



▲ 《 無題(i)》,絲綢與紙面墨水、丙烯,72釐米x 184釐米

Untitled I, Ink and acrylic on paper and silk, 72cm x 184cm

《 無題(ii)》,絲綢與紙面墨水、丙烯,72釐米x 184釐米

Untitled II, Ink and acrylic on paper and silk, 72cm x 184cm


▲ 《 真實物體,感官物體(ii)》,絲綢與紙面墨水、丙烯,72釐米x 164釐米

Real Object, Sensual Object (II), Ink and acrylic on paper and silk, 72cm x 164cm


▲ 《 看天安門 》,紙上墨水,31釐米x 35釐米

Seeing Tiananmen, Ink on paper, 31cm x 35cm 


▲ 《 尋找天安門 》,紙上墨水,28釐米x 35釐米

Looking for Tiananmen, Ink on paper,  28cm x 35cm


▲《 金佛山的隱藏路徑 》,布面水粉、墨水、線,直徑20釐米

Hidden Paths at Jinfo Shan, Ink, gouache, oil and thread on canvas, 20cm in diameter


▲《 消失於金佛山 》,布面水粉、墨水、線,直徑20釐米

Disappearing at Jinfo Shan, Ink, gouache, oil and thread on canvas, 20cm in diameter


▲《 精神遭遇 》,紙上水粉、墨水,31釐米x 27釐米

Spirit Encounter, Ink and gouache on paper, 31cm x 27cm


▲《 小步,大壯舉 》,紙上水粉、墨水,25釐米x 26釐米

Small Step, Big Feat, Ink and gouache on paper, 25cm x 26cm


▲《 金佛山的啟示 》,紙上水粉、墨水,26釐米x 32釐米

Revelation at Jinfo Shan, Ink and gouache on paper, 26cm x 32cm


▲《 水和波浪 》,紙上水粉、墨水,32釐米x 28釐米

The Water and The Wave, Ink and gouache on paper, 32cm x 28cm


 ▲ 3D打印,塑膠粘土,尺寸可變

3D prints, Plastic clay prints, dimensions variable


▲《 在青銀閣休息 》,紙上水粉、線,31釐米x 35釐米

Resting at Qingyin Pavilion, Gouache and thread on paper, 31cm x 35cm


▲《 春陽宮之旅 》,紙上水粉、線,31釐米x 35釐米

Journey to Chunyang Palace, Gouache and thread on paper, 31cm x 35cm


▲《 走向神秘的中峯 》,紙上水粉、線,31釐米x 35釐米

The Walk to Mysterious Zhongfeng, Gouache and thread on paper, 31cm x 35cm


▲《 前往萬年寺 》,紙上水粉、線,31釐米x 35釐米

Heading Out to Wannian Temple, Gouache and thread on paper, 31cm x 35cm


▲《 黑山穀的紅色岩石 》,布面水粉、線,直徑20釐米

Red Rocks at Black Mountain Valley, Gouache and thread on canvas, 20cm in diameter


▲ 《 黑山穀的白雲》,布面水粉、油彩和線,直徑20釐米

White Clouds at Black Mountain Valley, Gouache, oil and thread on canvas, 20cm in diameter


▲《 黑山穀的橙色天空 》,布面油彩、水粉、線,直徑20釐米

Orange Sky at Black Valley Mountain, Gouache, oil and thread on canvas, 20cm in diameter


▲ 《 真實物體,隱藏物品(ii)》,絲綢與紙面墨水、丙烯,61釐米x 164釐米

Real Object, Hidden Object (ii), Ink and acrylic on paper and silk, 61cm x 164cm


▲ 《 真實物體,隱藏物品(i)》,絲綢與紙面墨水、丙烯,61釐米x 164釐米

Real Object, Hidden Object (i), Ink and acrylic on paper and silk, 61cm x 164cm


▲ 《 四面山珍珠湖 》,布面水粉、丙烯,160釐米x 120釐米

Pearl Lake at Simian Shan, Gouache and acrylic on canvas, 160cm x 120cm


▲ 《 金佛山的金色光芒 》,布面油彩、水粉,直徑20釐米

Golden Light at Jinfo Shan, Gouache and oil on canvas, 20cm in diameter


▲ 《 四面山的光線 》,布面水粉、丙烯,240釐米x 120釐米

Light at Simian Shan, Gouache and acrylic on canvas, 240cm x 120cm


▲ 《 速寫本,鈴鐺和冰爪 》,尺寸和材料可變 

Sketchbooks, bells and crampons, dimensions and materials variable


▲ 《 奇與正 》,紙面墨水,40釐米x 52釐米

Qi and Zheng, Ink on paper, 40cm x 52cm





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