袁慧莉︱yuanhuili︱1998 塊狀山水

Discrete Islands series (Xuan paper)
孤山水系列 (宣紙)
1998-1999

Modern Ink Painting movement emphasizes "removing the brush but retaining the ink" and "revolting against the center-tip brushwork" (Zhongfeng), prioritizing innovation in materials and techniques. In the 1990s, I contemplated whether the modernization of ink painting could be achieved without abandoning the center-tip technique. I deliberately employed the center-tip brush to create intricate textures, using diverse textures to define mountain and rock masses. However, in terms of structure, I consciously departed from the continuous, flowing layouts of traditional landscapes. Instead, I implemented a disjunctive spatial arrangement using block-like compositions—a concept I term "Psychological Structure." Beginning in 1992 and continuing through extensive experimentation in 1998—whether through tearing and collaging painted Xuan paper or directly constructing block-based compositions—this "Block Structure Project" has been a consistent thread throughout my career.
現代水墨畫強調去筆留墨、革中鋒的命、以材質技法創新為主，我在90年代思考是否能夠在不捨棄中鋒用筆的情況下實現水墨現代化？所以我刻意使用中鋒來製造肌理，希望能以多樣化的肌理來處理山石圖塊，但是在結構上，我也刻意不遵循傳統山水畫常使用的連續感布局，而是以塊狀的佈局，來執行另一種斷裂感的空間布局，我稱之為"心靈結構"，在1992年開始，1998年繼續大量實驗，無論是撕碎拼貼，或者直接畫塊狀結構的畫面，我從90年代開始的塊狀結構計畫一直貫穿到後來的創作中。