像藝術家一樣畫畫--有排(牌)寫生 Painting like an Artist – Plein Air

《像藝術家一樣畫畫》是一個持續性計劃。魂游從零開始學習繪畫,並每月隨不同的香港藝術家研習繪畫藝術;另一邊廂,她於每月在油街實現「一百之後」計劃中按這些藝術家在北角區內所選取的地方作戶外寫生,並不時廣邀街坊及友好出席,在日常的生活場景中一起偶遇藝術的驚喜。

魂游自幼居於北角,透過從其他香港藝術家研習到的畫藝,以及他們所提供的故事或記憶,在定期的寫生活動中重新認識自己熟悉的社區,同時檢視本地藝術的各種流派,也探索繪畫作為一種藝術形式的當今意義。

「我以前響旺角開麻雀館,亦學過水墨畫。」 “I used to run a mahjong school in Mongkok and practise Chinese ink painting.”
「畫得好靚喎!」 “It’s a beautiful painting.”
「日日都係國際寫生日。」 “Every day is International Plein Air Day.”
「記緊我的電話號碼,你有展覽要告訴我。」 “Please keep my phone number, and call me when you have an exhibition.”

This project is part of wen yau’s on-going Painting like an Artist series in which the artist starts from zero and acquires painting skills from various artists in Hong Kong. For the 2-year durational project After One Hundred at Oi!, she did a plein-air each month in the neighbourhood area within North Point district where she had been living since childhood.

By using the painting techniques learnt from other artists and drawing a place in North Point suggested by them, wen yau intends to re-observe the community where she finds familiar. Local neighbours and friends will be openly invited to join the plein air every month, and to encounter art in everyday life settings. The paintings she made during the 2 years not only convey stories or memories of people about these local places, but also present a survey on Hong Kong painters of different styles as well as her exploration of painting as an art form itself.

(exhibition view of After One Hundred, Oi!; photo by Connie Lo)

 


>> 有排(牌)寫生 的故事 Stories about each Plein Air

       ­

>> 有排(牌)寫生 Plein Air#00-#16

>> 關於「一百之後」計劃 About ‘After One Hundred’ project


This project was presented in the After One Hundred exhibition curated by Gum Cheng, at Oi!, Hong Kong, 31/7-18/10/2015

After One Hundred was part of the Sparkle! series presented by Arts Promotion Office, Leisure and Cultural Services Department (LCSD), Hong Kong

一切回復正常(謹向所有和平革命者致敬)Don’t worry, it’s OK (homage to all peaceful revolutionaries)

– intervention/installation, 3-8/06/2015, Hong Kong

Don't worry, it's OK (homage to all peaceful revolutionaries)
(photo by Carlos Tang)

Read more “一切回復正常(謹向所有和平革命者致敬)Don’t worry, it’s OK (homage to all peaceful revolutionaries)”

尋找國民系列:萬語千言 Civil Left/Right series: wish you were here

– installation/performance

Repeat a lie a thousand times and it becomes the truth.
– I repeat the same sentence more than a thousand times and it becomes more than truth.

Read more “尋找國民系列:萬語千言 Civil Left/Right series: wish you were here”

〈回應丁級藝術家的U級書寫〉’A Grade U writing in response to a Grade D artist’

 

文:丁穎茵 博士(香港浸會大學視覺藝術院助理教授)

我是徹頭徹尾的考試懷疑論者。即使吃了老虎膽,誰敢給喬托(Giotto)、維拉斯奎茲(Velazquez),又或董源、石濤打分數?區區數字如何能夠計算藝術家經年累月對作品形式表現的知性與感性的思索?量化的評核又該如何衡度藝術家的想像力、修養及個性內涵所創造的藝術境界?難道馬蒂斯(Matisse)以色彩對比帶動畫面節奏的抽象構圖就不如布拉克(Braque)以幾何形式重構物象體積嚴謹?常玉以簡御繁的空靈又該如何與朱德群遒勁又跳脫的抽象語言作數值的比較?

by: Dr. Ting Wing Yan Vivian (Assistant Professor, Academy of Visual Arts, Hong Kong Baptist University)

I am absolutely skeptical about examinations. Who would have the nerve to grade the works by Giotto, Velazquez, Dong Yuan or Shi Tao?  How can mere figures reveal the intellectual pursuits of an artist and sensual explorations in art-making throughout the years?  How can quantitative assessments measure the quality of works of art created with one’s imagination and the depth of one’s inner self?  Can one state that the voluptuous and coloured rhythm of Matisse in his compositions is less vigorous, compared to the geometric construction of form by Braque?  How can the refreshing fluidity in the simple yet polished works of art of San Yu be compared with the energetic and rule-breaking abstract language by Chu Teh-Chun?

Read more “〈回應丁級藝術家的U級書寫〉’A Grade U writing in response to a Grade D artist’”