PS. THEY (video)
PS. THEY is a series of video works created through digital editing and collage, utilizing the artist’s original "Yuan’s Texturizing Strokes" as primary material. The series consists of two components: the first involves overlaying the texture marks within classical landscape paintings, while the second features original edited imagery.
By substituting classical "naturalistic texture marks" with her own "emotional texture marks," Yuan uses feminine consciousness to subvert the centralized, consistent aesthetic of texture structures constructed by ancient Chinese male painters, shifting instead toward a structural logic of pluralistic difference. Furthermore, this process transforms emotional texture marks into metonyms for affective discourse, serving as a metaphor for the contemporary era where a multitude of diverse voices coexist.
PS. THEY系列是以數位影像編輯拼貼的錄像作品，使用的素材為袁慧莉自創的袁氏皴法。這系列有兩個部分，一個是覆蓋古典山水畫中的皴法；一個是自創的編輯圖像。將自創的情緒性皴法取代古典的自然性皴法，不僅以女性意識顛覆古代中國男性山水畫家建構的一致性皴法結構美學，轉向多元差異性的皴法結構，也藉此將情緒性的皴法轉喻為情感話語的指涉，隱喻當代世界是多元聲音並存的時代。
By substituting classical "naturalistic texture marks" with her own "emotional texture marks," Yuan uses feminine consciousness to subvert the centralized, consistent aesthetic of texture structures constructed by ancient Chinese male painters, shifting instead toward a structural logic of pluralistic difference. Furthermore, this process transforms emotional texture marks into metonyms for affective discourse, serving as a metaphor for the contemporary era where a multitude of diverse voices coexist.
PS. THEY系列是以數位影像編輯拼貼的錄像作品，使用的素材為袁慧莉自創的袁氏皴法。這系列有兩個部分，一個是覆蓋古典山水畫中的皴法；一個是自創的編輯圖像。將自創的情緒性皴法取代古典的自然性皴法，不僅以女性意識顛覆古代中國男性山水畫家建構的一致性皴法結構美學，轉向多元差異性的皴法結構，也藉此將情緒性的皴法轉喻為情感話語的指涉，隱喻當代世界是多元聲音並存的時代。
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Critical Essays/專家藝評
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Excerpt from "Mending the Heavens With Sentiment On Yuan Hui-Li’s Reshaping of Shanshui", by Shih Shou-Chien.
節錄自，石守謙，〈以情補天，談袁慧莉的山水重構〉一文。
"...Yuan’s intimate connection to Dream of the Red Chamber immediately calls to mind her gender consciousness. This emphasis on the texturizing of heartfelt sentiments is a conscious subversion of the traditional texturization system, through which the artist intends to create a sentient world, like that in Dream of the Red Chamber, which would resonate with her.
...She does not intend to vie for pedagogical authority with this manual of texturizing strokes, but simply to voice her own artistic assertions. She recognizes the reality of her own oppression, and the true rationale behind this effort is inextricable from the positions of inferiority to which female artists have been relegated in the cultural world. Manual of Yuan’s Texturizing Strokes and all of her lament-filled figurations aim to subvert male subjectivity.
Even now, in the 21st century, Yuan’s proposal of a manual of texturizing strokes can still be regarded as an exceptional act of gender consciousness in the world of ink painting.
...Yuan shifts away from the classical “three distances” schemas, and eschews Western spatial perspectives to return to an expression of distance using superimposed layers. In this manner, she shuns millennia of shanshui painting history, and returns to a primal schema that preexisted the establishment of shanshui painting. Mountains are divided by distinct lines in Yuan’s work, the most uncomplicated composition only seen in Han-dynasty murals."
*Shih Shou-Chien is an art historian. He was a professor and the director of the Graduate Institute of Art History,
National Taiwan University, as well as the deputy director and the director of National Palace Museum. He was elected
academician at Academia Sinica in 2012, and is now a corresponding research fellow at the Institute of History and
Philology, Academia Sinica.
"...袁慧莉與《紅樓夢》間的密切關係不禁讓人想起她的性別意識，如此強調「自心而生，從情而起」的「情皴」，也該算是對傳統自然皴法系統的有意識顛覆，而其目標則是如《紅樓夢》那樣，重建一個自己可以認同的有情世界。
...她的這個皴譜意不在爭取教學的權威，而僅僅是為自己的藝術主張發聲。那是她自認受到壓抑的事實，而背後的真實原因則與女性藝術家在我們文化世界中的劣勢地位脫不了關係。《袁氏皴譜》以及她所有充滿悲情的形象全是為了顛覆那個男性主體的存在。即使是到了二十一世紀的今天，袁慧莉的皴譜提出，仍可算是水墨世界中最具性別意識的行動。
...袁慧莉跳過像「三遠」等的古典圖式，也沒有來自西方的空間透視，卻返回了以疊壓表示前後距離的方式，這就是跳過了千年的山水畫史歷程，返回山水畫成立之前的原始圖式。畫面上十分顯眼的條紋式分割山體，也是最素樸的結構，僅見於漢代的壁畫之上。"
*藝術史學家石守謙，曾任國立臺灣大學藝術史研究所教授及所長，以及國立故宮博物院副院長與院長。2012 年榮膺中央研究院院士，現為中央研究院歷史語言研究所兼任副研究員。
節錄自，石守謙，〈以情補天，談袁慧莉的山水重構〉一文。
"...Yuan’s intimate connection to Dream of the Red Chamber immediately calls to mind her gender consciousness. This emphasis on the texturizing of heartfelt sentiments is a conscious subversion of the traditional texturization system, through which the artist intends to create a sentient world, like that in Dream of the Red Chamber, which would resonate with her.
...She does not intend to vie for pedagogical authority with this manual of texturizing strokes, but simply to voice her own artistic assertions. She recognizes the reality of her own oppression, and the true rationale behind this effort is inextricable from the positions of inferiority to which female artists have been relegated in the cultural world. Manual of Yuan’s Texturizing Strokes and all of her lament-filled figurations aim to subvert male subjectivity.
Even now, in the 21st century, Yuan’s proposal of a manual of texturizing strokes can still be regarded as an exceptional act of gender consciousness in the world of ink painting.
...Yuan shifts away from the classical “three distances” schemas, and eschews Western spatial perspectives to return to an expression of distance using superimposed layers. In this manner, she shuns millennia of shanshui painting history, and returns to a primal schema that preexisted the establishment of shanshui painting. Mountains are divided by distinct lines in Yuan’s work, the most uncomplicated composition only seen in Han-dynasty murals."
*Shih Shou-Chien is an art historian. He was a professor and the director of the Graduate Institute of Art History,
National Taiwan University, as well as the deputy director and the director of National Palace Museum. He was elected
academician at Academia Sinica in 2012, and is now a corresponding research fellow at the Institute of History and
Philology, Academia Sinica.
"...袁慧莉與《紅樓夢》間的密切關係不禁讓人想起她的性別意識，如此強調「自心而生，從情而起」的「情皴」，也該算是對傳統自然皴法系統的有意識顛覆，而其目標則是如《紅樓夢》那樣，重建一個自己可以認同的有情世界。
...她的這個皴譜意不在爭取教學的權威，而僅僅是為自己的藝術主張發聲。那是她自認受到壓抑的事實，而背後的真實原因則與女性藝術家在我們文化世界中的劣勢地位脫不了關係。《袁氏皴譜》以及她所有充滿悲情的形象全是為了顛覆那個男性主體的存在。即使是到了二十一世紀的今天，袁慧莉的皴譜提出，仍可算是水墨世界中最具性別意識的行動。
...袁慧莉跳過像「三遠」等的古典圖式，也沒有來自西方的空間透視，卻返回了以疊壓表示前後距離的方式，這就是跳過了千年的山水畫史歷程，返回山水畫成立之前的原始圖式。畫面上十分顯眼的條紋式分割山體，也是最素樸的結構，僅見於漢代的壁畫之上。"
*藝術史學家石守謙，曾任國立臺灣大學藝術史研究所教授及所長，以及國立故宮博物院副院長與院長。2012 年榮膺中央研究院院士，現為中央研究院歷史語言研究所兼任副研究員。