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，這強烈的體感觸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，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」系列隱射現今全球暖化日常空氣的霾害危機，同時也轉換了傳統山水畫論裡的墨性美學語境，使當代山水畫真正進入現代性語境。火墨系列分為Part 1 與Part 2，Part 1 主要是對應於歷史古畫中具有空氣題材的畫作，以擬仿為主；Part 2 則是以當代空汙新聞作為表現對象，以半抽象為主。---袁慧莉
The experience in Beijing in the winter of 2015, encountering the purple smog alert and the city enveloped in that oppressive, polluted air, profoundly impacted me. That intense physical sensation directly inspired me to create the "Fiery Ink" series as a response to the air pollution. The "Fiery Ink" replaces the Chinese classical "ink" landscape painting material with a burning xuan paper charcoal, replacing "Moist ink" form to "Burnt ink" form. "Fiery Ink" has metaphor the crisis of global air pollution in 21 century, and it has also transformed the traditional landscape painting aesthetic context enter to the modernity context. The "Fiery Ink" series is divided into Part 1 and Part 2. Part 1 primarily corresponds to historical paintings that feature atmospheric subjects, with a focus on imitation. Part 2, on the other hand, takes contemporary air pollution news as its subject matter and employs a predominantly semi-abstract style. ---By Yuan, Hui-Li
The experience in Beijing in the winter of 2015, encountering the purple smog alert and the city enveloped in that oppressive, polluted air, profoundly impacted me. That intense physical sensation directly inspired me to create the "Fiery Ink" series as a response to the air pollution. The "Fiery Ink" replaces the Chinese classical "ink" landscape painting material with a burning xuan paper charcoal, replacing "Moist ink" form to "Burnt ink" form. "Fiery Ink" has metaphor the crisis of global air pollution in 21 century, and it has also transformed the traditional landscape painting aesthetic context enter to the modernity context. The "Fiery Ink" series is divided into Part 1 and Part 2. Part 1 primarily corresponds to historical paintings that feature atmospheric subjects, with a focus on imitation. Part 2, on the other hand, takes contemporary air pollution news as its subject matter and employs a predominantly semi-abstract style. ---By Yuan, Hui-Li
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 |