故事:郑木彰

故事:郑木彰

访问:陈泑佳 
翻译:黄匡宁 -  资深媒体工作者,现为自由写作人

 

我用手机录下了与郑木彰的整个对话,录音被分成两个部分,而我在访谈结束后边聆听边赶搭巴士,一不小心把第二部分删除了。真的不应该一心多用。就像思绪还沉浸在另一个世界的时候,紧盯着画作是毫无意义的。我不该尝试去囚困自己想要解读的语言,将之隔离疏远,以安全的距离对待粗俗猥琐,坦荡如日记里对爱情的反思。但我尽量理性地安慰自己。这正是为什么这项计划得以落实,坚忍刚毅,对我而言已有足够的说服力。

  通灵宝玉  , 2013.

通灵宝玉, 2013.

 

软实力。迁移中不断递减,直到镜面上的玻璃放大如洁净的广告,令人惊讶的是作为艺术,我们是如此的未经装饰。这就是诗作,海边岩石下的生态系统。举起这些岩石,会看到藏在底下的生物,在这些巨大、隐约、粗糙的外层底下积极生存,展现勃勃生机。这就是为什么我喜欢郑木彰的《石头》(2013) 系列,充满生气的大卵石,色泽饱满,力度强大,在活力旺盛的画布上抚慰人心。我尝试以有限的华语与他谈论我的观察,但口中的词汇有如被打回来的石头,被投入沙土之中。画室空间里海浪翻腾,把我送回沙发上安坐其间。木彰就在我的左边,旁边是珐琅白色的泡沫墙壁,泰然直立。画室里有个阁楼,放置他的作品,他笑着说,画室里有二楼是他对成功的自我定义。存放着的画作,有如经过长途飞行的候鸟,疲惫而充满希望,安于过境的状态。

  枯井彻悟  , 2013.

枯井彻悟, 2013.


他对年龄有个平静的概念。问他何时开始作画,他盯着我说:“幸好我才40岁,要是80了怎么办?”所以,他了解岁月是残存的,剩下的年华岁岁递减,我们不断向前推进,有如武术招式一样不露痕迹,只需一个足以锻炼的平台,无论是空气、水、纸张。对他来说,我一定显得很年轻。或许吧。《剑气》(2012)细腻地表达了这些招式,尽情挥舞而毫不惋惜残余的岁月。完成品有如蓄势待发、熟练掌握的武器,随时准备拔剑出鞘。
这也是他感觉最满意的展览,有如盛大的压轴演出,必定能迎来安可与欢呼。

  破剑式  ,2012.

破剑式,2012.

他本人意志坚决。他问我最喜欢的颜色是不是蓝色,我羞怯地点头。蓝是未经加工的色泽,作为大自然的穹幕,在眼前展现。蓝色是核心的颜色,是我们所看到的所有其他色谱的基础。我如此向他解释,他对我的说法有点质疑(或觉得好笑),因为我突然讲了一大串的华语,有如耳坠一样悬挂在耳边。他也喜欢蓝色。他认为蓝色有呼唤的能力。我觉得他把人视为窗户上的雾,雾气背后的一切,都能够由蓝色来揭露。有如含蓄低调的叶子。艺术很容易被复制、作出过多或过于乏善可陈的煽动,蓝色可作为这些压力的气压表。

  水过无痕  , 2015.

水过无痕, 2015.

 

今年的个展题目为《青花 • 朱印》(2015), 在我们会面的几天后,我有点不自在地到场社交。木彰还是一样的坚忍克己,大家都努力地想与他拍照,他却乐于成为当晚的塑像。墙上都是蓝色图像,画作经历漫长艰苦旅途后毫不畏惧地安顿下来。我比较拘谨而不擅应付人群,到场外的空间透一透气。坐在凳子上的是木彰的妻子与女儿,两人都穿上蓝色。我自我介绍后,她们面露微笑,有如他的笔锋一样,精确、真实。她们都是热心的支持者,人潮过多的时候依然看到她们眼中的光芒。所以,你们坐在外面招呼你先生和你父亲的观众。软实力。迁移中不断递减,人与人之间的凝聚力,由简单的动作来展现。

 

所有图片由画家提供。

 

Tay Bak Chiang paints subjects found in the nature of Singapore and Southeast Asia, such as heliconias, lotus ponds and rocks. He aims to reinterpret them inventively in terms of form, composition, technique, material and colour. Lotus flowers, for example, are depicted as minimalist forms in bold hues; lotus stalks as thick, unembellished black strokes; and stones as textured shapes and sculptural blocks in intense colours made by combining pigments and traditional Chinese ink and colours. These subjects, to his mind, are sentient beings that feel and perceive the world around them; he expresses his feelings and philosophies through them. He graduated from the Nanyang Academy of Fine Arts in Singapore in 1995 and studied at the China Academy of Art in Hangzhou, China, in 1997. He was awarded the First Prize in the Chinese Painting category in the 19th and 22nd United Overseas Bank Painting of the Year Competitions (2000 and 2003 respectively). In 2002 he received the Young Artist Award from the National Arts Council of Singapore. He has had ten solo exhibitions to date, such as Cleavages Fractures Folds《斧劈皴》at iPreciation (2014), Blue White Vermilion《青花 • 朱印》 at Chan Hampe Galleries (2015), and The Chivalrous Hero《侠之大者》at Serindia Gallery (2015).

Euginia Tan is VADA’s 2015-2016 Curator. She has published three collections of poetry and is completing her first play. She is interested in the notion of stories (within stories, within stories) and how much of these are lost, or can be resuscitated, when converted into various other multi-disciplinary platforms. Euginia also graduated from Curating Lab 2014.

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