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「……我在創作之初設想,假如人們覺得我的作品恐怖,讓人緊張或者難過,那麼參觀者走出展廳看到的第一眼陽光 就是他們想要的或者說是應該追求的……」(擷取自對藝術家所做的電子郵件訪談) "……When I started on my works, I thought that if viewers find my work terrifying, nerve-wrecking or sad, then the first ray of light they see after they leave the exhibition venue should be what they want or desire……"(Extracted from the interview with the artist via email)

「縈」黃亮個展 HAUNT - Huang Liang's Solo Show

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縈繞之苦 V.S. 藝術之樂 閱讀黃亮的繪畫與生命

Lingering pain and the joy of art Interpreting Huang Liang's life and paintings

李政勇

Andre Lee

1982年出生的黃亮,畢業於重視繪畫基礎的魯迅美術學院油畫系。他的繪畫語言不僅充滿變化,還具有一股中國當代 藝術中少見的細膩和深刻感情,而這份獨特的氣質卻是源於他年輕生命裡的一段沉痛經歷。自幼身體不佳的他,早在 初中時期就有肺門淋巴結核的困擾,也曾一度被懷疑為染上肺癌,不到20歲的青澀生命,黃亮經歷了病痛之苦與生死 之間的至大難關;這種經驗,讓黃亮擁有一雙別於平常的眼睛來看待人間,與一顆較多數人都更為纖細和脆弱的心靈 來感受萬物。

Born in 1982, Huang Liang graduated from the Department of Oil Painting, Lu Xun Academy of Fine Arts, an art school known for its emphasis on the basics of painting. Huang's diverse artistic styles manifested in his works demonstrate a unique kind of delicateness as well as emotions rarely visible in Chinese contemporary art. This uniqueness, however, stems from Huang's painful experiences early in life. Ever since he was young, Huang had been plagued by primary pulmonary tuberculosis and was even suspected of being afflicted with lung cancer. Before he turned twenty, Huang had already suffered severely from this serious illness and even encountered a neardeath experience. Under this light, Huang tended to see the world from a different perspective while perceiving his surroundings with a heart more sensitive and delicate than others.

觀看黃亮的作品,既是欣賞繪畫藝術的發展,也是閱讀一位青年藝術家的生命歷程。從起初他透視自我身心經驗的描 繪,到近期逐漸轉向個人情懷的浪漫抒發,黃亮的創作一直縈繞著一股揮不去的孤寂與哀傷,在荒涼與安靜的畫面裡 流露一股神秘而憂鬱的氣質,不論是把身體放大成有如抽象繪畫之美的「顯形」系列,或是最新力作中以兼具寫實與 表現技法描繪出一段傷痕累累般歷史的《坑》。 2010年創作的《坑》,用擬人化的真摯情感表達出強烈的生命力,這座承載著歷史風霜的「坑口」,像超越時空般地 烙印出歲月的斑駁與生命的傷痕,與2008年的《顯形1》中近乎抽象筆法描繪的身體內在,同樣地映照出藝術家與死 神搏鬥下的紀錄和體悟,它們不但對觀者的視覺與身體帶來一種強大的撞擊,還呈現出黃亮對於創作與生命的絕對真 誠,以及存在於其生命底層的悲痛與超越的兩股力量的相互作用。 相對於《坑》、《花拱》和《顯形》這些大幅之作,黃亮在許多小畫的嘗試則讓我們看到這位年輕藝術家創新繪畫語 言的企圖。這些小作品多以畫作的尺寸命名,它們彷若藝術家的日記,在多樣化的筆法和色彩中記錄了黃亮的各種心 情。標題《38.5.28》的肖像畫,描繪希特勒(Adolf Hitler, 1889-1945)的愛妻艾娃.安娜.寶拉.布朗(Eva Anna Paula Braun, 1912-45),這位陪伴希特勒共赴黃泉的美麗女子,其面容在黃亮的筆下是一位眼神充滿迷離、生命透出不安狀 態的人物,而藝術家對於油彩顏料所作的摩拭效果,以及最後在上彩的畫布上留下刮痕的做法,尤讓尺寸極小的這件 肖像畫散發一種高度深邃的精神與靈魂。 繪畫是什麼?對黃亮來說,繪畫是一種自我抒發,也是一種絕對救贖,不論是幾扇透著光的樓房窗口、逆向中光線遍 灑而來的門道、一只裝著書籍充滿想像的旅行箱、或一些從舊時光記憶中所挖掘出的珠寶;這些隱約透出孤寂與沉重 的圖像,在藝術家揉和寫實與表現的筆法、美麗與哀愁的色彩中,以一種朦朧的語調抒發出他所經歷的人生苦難,以 及他從繪畫裡再次尋得的生命出口。 黃亮的繪畫雖然不取悅觀者的視覺,但他面對生命和藝術的真誠,卻能逼視我們與藝術家一起省視自身,重新面對人 生的各種課題。這些抒發藝術家生命與內心的畫面,彷彿是低吟人類心頭之苦的樂音,儘管低沉暗啞卻百轉千繞縈迴 不去。觀看黃亮的畫作,我們也如同在亞里斯多德(Aristotle, 384BC-322BC)所說的悲劇淨化論中,重新獲得一次情感 與心靈的絕對昇華……

Viewing Huang's works is like appreciating the development of the art of painting but also like studying and interpreting the life of a young artist. Huang started from the portrayal of his personal experience and then moved on to the romantic expression of his personal convictions. Be it the Phanerosis collection, in which Huang enlarges parts of the body to display the beauty of abstract painting, or his newest collection Pit, in which Huang combines his techniques with personal experiences to exhibit a period of scarred history, what remains unchanged is that an unyielding sense of loneliness and melancholy always linger in his works, while feelings of mysteriousness and depression are prevalent in his desolate and silent images. Created in 2010, Pit showcases the forceful strength of life with the artist's sincere emotions. The so-called "pit" bears the weight of history while transcending the boundaries of time and space to preserve the wounds and scars of time and of life. Pit bears resemblance to Phanerosis No. 1 (2008) (in which the artist portrays in an abstract manner the insides of the body), as both pieces show Huang's experience and reflections after struggling in the face of death. Imprinted in the viewers' mind and body, these works illustrate Huang's absolute honesty to art and life, as well as the interaction between his struggle for life and his transcendence. Compared to other large-sized works such as Pit, Colored Arch, and Phanerosis, Huang's smaller-sized paintings exemplify the young artist's ambition to be aesthetically innovative. These smaller-sized works were named after their actual sizes and served as Huang's diary, keeping track of his moods through various styles in brushwork as well as colors. One example is 38.5.28, which is the portrait of the beloved wife of Adolf Hitler, Eva Anna Paula Braun(1912-45), the beautiful woman who accompanied Hitler till his death. Eva is anxious and mysterious in the eyes of Huang, who portrayed her by creating a "wiped-paint" effect as well as scar-like marks on canvas. By doing so, Huang was able to infuse spirit and soul into this extremely small painting. What is the meaning of painting? To Huang, painting is a means of expressing oneself and a means of selfredemption. Images created by Huang include window panes of a building which beam with light, a doorway through which one sees a few streaks of light, a suitcase filled with books and imagination, or old jewelry which has been rediscovered from old memories. In these lonely and depressed images, Huang used different kinds of brush strokes which incorporate his personal experiences as well as beautiful yet sad colors. As a result, we have seen, though in a rather obscure manner, both the sufferings of the artist as well as how he found a way out of afflictions imposed on him. Huang does not try to please his viewers visually, yet his sincerity towards life and art forces us to become more like him. In turn, we are brought to reflect upon ourselves and face the important issues of life. The images which depict Huang's heart and soul resemble songs which sing of men's sufferings. Though the songs may be low and hoarse, they remain unstoppable melodies, forever lingering in the air. In this light, viewing Huang's works definitely sublimates us emotionally and spiritually to a higher level, just as was mentioned in Aristotle's Theory of Tragedy.

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《旅行者的時間》Traveler's time.布面油畫Oil on canvas.100 x 100 cm.2010


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《那時候 她的珠寶》Her Jewelry, at the time.布面油畫Oil on canvas.100 x 120 cm.2010


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《骨頭、珍珠、金子》Bone, Pearl and Gold.布面油畫Oil on canvas.200 x 270 cm.2010


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《木箱》Wooden Box.布面油畫Oil on canvas.125 x 150 cm.2010


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《珍珠》Pearl.布面油畫Oil on canvas.145 x 200 cm.2010


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《1996年心中的珍珠項鏈》The Pearl Necklace in My Heart in 1996.布面油畫Oil on canvas.79 x 60 cm.2010


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《1992年想登月》Desire to Go to the Moon in 1992.布面油畫Oil on canvas.65 x 90 cm.2010


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《65.95》.布面油畫Oil on canvas.65 x 95 cm.2010


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《小樓》Building.布面油畫Oil on canvas.125 x 150 cm.2010


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「《坑》這幅作品的技法是一種繪畫基本功很本能的流露。在美 院打造出來的我們總有些痕跡,當時自己覺得畫得很酣暢,是釋 放,心理舒服,也許是畫的過程是種發洩。就像是在嘴邊的話, 說出來才舒服。」(擷取自對藝術家所做的電子郵件訪談) "The skills used in Pit were like the revelation of my intuitive painting techniques. Many of those who went to art school share a certain kind of characteristic. When I was painting, I felt really good inside, like I was letting go of something or being liberated. It just felt good all over. Perhaps the process of paintings itself is a kind of liberation, kind of like being able to say things that are already at the tip of your tongue. You simply need to express yourself to feel good." ( Extracted from the interview with the artist via email)

《坑》Pit.布面油畫Oil on canvas.283 x 200 cm x 2.2010


Haunt  

catelogue of the exhibition HAUNT

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