The Fiery Ink Project YUAN Hui-Li 2015- |
火墨計畫
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In the winter of 2015, during a trip to Beijing, I encountered a purple haze alert, with the entire city shrouded in noxious smog. This intense, visceral experience spurred me to create the 'Fiery Ink' (火墨) series as a response to air pollution.
Fiery Ink' replaces traditional ink materials with scorched Xuan paper ash, fundamentally transforming classic 'ink-wash' (水墨) landscape painting into 'fiery ink' landscape painting.
'Fiery Ink' Part 1 primarily appropriates historical paintings that feature 'air' as a subject, aiming to highlight the variations in landscapes, ancient and modern, under the impact of climate change. The 'moist ink atmosphere' traditionally found in classical ink-wash landscape paintings thus transforms into an 'arid ink atmosphere,' permeated by smog and air pollution.
'Fiery Ink' Part 2, inspired by contemporary air pollution news, predominantly features semi-abstract compositions. It not only alludes to the contemporary crisis of smog in our daily air due to global warming, but also, through its material transformation, subverts the aesthetic discourse of ink within traditional landscape painting theory, thereby truly bringing contemporary landscape painting into a modernity discourse. ---By Yuan, Hui-Li
2015年冬天到北京遭遇到紫薶警報，整個城市壟罩在烏煙瘴氣之中，這強烈的體感促使我創作對應於空汙的「火墨」（Fiery Ink）系列。
「火墨」是以燒灼的宣紙炭灰取代傳統的水墨材質，將原本傳統經典的「水墨」山水畫置換為「火墨」山水畫，「火墨」Part 1主要是挪用歷史古畫對應於具有空氣題材的畫作，藉以凸顯氣候變遷下的古今山水變異。原本傳統水墨山水畫的潤墨空氣，變成了充滿霾害空汙的燥墨空氣。
「火墨」Part 2以當代空汙新聞作為靈感，以半抽象畫面為主。隱射現今全球暖化日常空氣的霾害危機，同時也藉由材質轉換，翻轉了傳統山水畫論裡的墨性美學，使當代山水畫真正進入現代性語境。 ---袁慧莉
Fiery Ink' replaces traditional ink materials with scorched Xuan paper ash, fundamentally transforming classic 'ink-wash' (水墨) landscape painting into 'fiery ink' landscape painting.
'Fiery Ink' Part 1 primarily appropriates historical paintings that feature 'air' as a subject, aiming to highlight the variations in landscapes, ancient and modern, under the impact of climate change. The 'moist ink atmosphere' traditionally found in classical ink-wash landscape paintings thus transforms into an 'arid ink atmosphere,' permeated by smog and air pollution.
'Fiery Ink' Part 2, inspired by contemporary air pollution news, predominantly features semi-abstract compositions. It not only alludes to the contemporary crisis of smog in our daily air due to global warming, but also, through its material transformation, subverts the aesthetic discourse of ink within traditional landscape painting theory, thereby truly bringing contemporary landscape painting into a modernity discourse. ---By Yuan, Hui-Li
2015年冬天到北京遭遇到紫薶警報，整個城市壟罩在烏煙瘴氣之中，這強烈的體感促使我創作對應於空汙的「火墨」（Fiery Ink）系列。
「火墨」是以燒灼的宣紙炭灰取代傳統的水墨材質，將原本傳統經典的「水墨」山水畫置換為「火墨」山水畫，「火墨」Part 1主要是挪用歷史古畫對應於具有空氣題材的畫作，藉以凸顯氣候變遷下的古今山水變異。原本傳統水墨山水畫的潤墨空氣，變成了充滿霾害空汙的燥墨空氣。
「火墨」Part 2以當代空汙新聞作為靈感，以半抽象畫面為主。隱射現今全球暖化日常空氣的霾害危機，同時也藉由材質轉換，翻轉了傳統山水畫論裡的墨性美學，使當代山水畫真正進入現代性語境。 ---袁慧莉
2022
2022
火墨．唐寅《雲山圖》
Fiery Ink, Displacing Tang Yin’s Cloudy Mountain
宣紙炭灰．宣紙裱板．壓克力木框
Rice paper ash on rice paper and wood board
120 x 51.5cm
火墨．唐寅《雲山圖》
Fiery Ink, Displacing Tang Yin’s Cloudy Mountain
宣紙炭灰．宣紙裱板．壓克力木框
Rice paper ash on rice paper and wood board
120 x 51.5cm
2018
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2018
火墨．巨然《溪山蘭若圖》 Fiery Ink, Displacing JuRan's XiShanLanRuo 宣紙炭灰．宣紙裱板．壓克力框 Rice paper ash on rice paper and wood board 184 x 57 cm |
2018
火墨．董源《瀟湘圖》 Fiery Ink, Displacing Dong Yuan's XiaoXiang 宣紙炭灰．宣紙裱板．壓克力木框 Rice paper ash on rice paper and wood board 50 x 120cm |
2017
2017 年「火墨」系列 正式於台北內湖耿畫廊舉行個展「墨的兩種呼吸方式」
2017 Fiery Ink series had showed in solo exhibition "Moist and Burnt : As Ink Breathes" at Tina Keng Gallery, Taipei, Taiwan
2017 Fiery Ink series had showed in solo exhibition "Moist and Burnt : As Ink Breathes" at Tina Keng Gallery, Taipei, Taiwan
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2015
火墨．郭熙《早春圖》 No.1 首次發表於北京 中央美術學院「傳統重置」兩岸現地創作聯展
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2015 火墨．郭熙《早春圖》 No.1 Fiery Ink, Displacing Guo Xi 's Early Spring, No.1 宣紙炭灰．宣紙 Rice Paper ash on Chinese handmade paper and wood board, 100 x 68 cm 現地裝置 |