2017-2024.
火墨紀錄片. 增修版
「火墨」創作源於2015年冬赴北京時遭遇霧霾紅色警報時的體感震憾，我感到承載中國千年歷史的古老大地，如今卻與古畫中可居可遊的理想山水相去甚遠。古典山水畫論中講求以墨瀋淋漓表現天地氤氳之象，發展出以「潤」「滋」水性用墨為主的美學觀點。然而面對現代工業社會所產生的焦灼霾氣時，傳統的潤墨美學顯已不合時宜，這意味著傳統水墨語彙對應當代現狀的不足。於是，我透過燒灼宣紙的焦燥碳灰臨摹傳統山水畫的經典之作，提出獨創的「火墨」，作為當今霾霧現象的「燥」氣徵候，以火對應水，重新置換傳統山水畫的墨性語境。這不僅僅是從墨材物性的形式角度，貼近燥動不安的全球暖化氣候現象，更從論述內容上讓墨性美學語彙跳出傳統框架，具有現代性語境。
“Fiery Ink” was inspired by the artist’s trip to Beijing in the winter of 2015, where a red alert for severe smog prompted her physical and psychological shock. It was then that the artist first realized the ancient land that had cradled millennia of history became a far cry from the unworldly utopia portrayed in literati painting, and that the traditional language of ink no longer corresponded with reality. Classical painting theories emphasize the vivacious expression of swirling clouds of mist in ink. This principle gave rise to the “moistness” in literati painters’ use of the medium, which has prevailed for centuries. The traditional view of moistness in ink, when confronted with the scorchedness in the air induced by modern-day industrialization, appears to be antiquated. Out of these circumstances was born “Fiery Ink,” Determined to innovate the timeworn medium, the artist rendered the work of classical shanshui painters in ashes of burnt Chinese handmade paper, and in so doing, shifted the context for traditional landscape painting. Her creative twist on the medium’s physicality serves not only as a reactionary response to the disquieting phenomenon of global warming, but also helps change the trajectory of traditional ink aesthetics.To reinterpret classical Chinese painting in fiery ink, and proposed “ burntness” ink aesthetics from the ashes, just as famed curator Xia Ke-Jun once said, therefore it is “really modernity aesthetic”.
“Fiery Ink” was inspired by the artist’s trip to Beijing in the winter of 2015, where a red alert for severe smog prompted her physical and psychological shock. It was then that the artist first realized the ancient land that had cradled millennia of history became a far cry from the unworldly utopia portrayed in literati painting, and that the traditional language of ink no longer corresponded with reality. Classical painting theories emphasize the vivacious expression of swirling clouds of mist in ink. This principle gave rise to the “moistness” in literati painters’ use of the medium, which has prevailed for centuries. The traditional view of moistness in ink, when confronted with the scorchedness in the air induced by modern-day industrialization, appears to be antiquated. Out of these circumstances was born “Fiery Ink,” Determined to innovate the timeworn medium, the artist rendered the work of classical shanshui painters in ashes of burnt Chinese handmade paper, and in so doing, shifted the context for traditional landscape painting. Her creative twist on the medium’s physicality serves not only as a reactionary response to the disquieting phenomenon of global warming, but also helps change the trajectory of traditional ink aesthetics.To reinterpret classical Chinese painting in fiery ink, and proposed “ burntness” ink aesthetics from the ashes, just as famed curator Xia Ke-Jun once said, therefore it is “really modernity aesthetic”.