Vines Project

I like to paint when I was a child.  But I gave it up when filling up my application form of university as everybody told me it’s difficult to earn a living with brushes and paints.  Another reason was I had an eye disease in form three.  My doctor told me not to overload my eyes and I could hardly imagine a blind person who could paint.

自幼酷愛繪畫,不過人人都說畫畫糊不了口,所以我在填寫大學申請表時,放棄了這理想。另一原因是自中三患上青光眼,醫生勸說不要讓眼睛過勞,而我也無法想像,一個盲人如何畫畫。總之,我離開了繪畫。

It has been a long road when I crushed it in my arms some ten years ago.  I took elementary painting classes in my forties and vines was the first object that impressed me.  To me, this slender plant symbolize small changes spreading out unnoticed.  First, I drew it to express the Chinese influence into Hong Kong.  While doing news in recent years, I learnt that people have contrasting attitudes towards China’s influence.  This inspires me to develop the ‘vines’ idea into a series —- to show different reactions of the insignificant under immense political pressure: to rebel, to yield, to welcome, to forget …..  Expanding the symbolic meanings of ‘vines’ enriches the messages in my pictures.

人生多彎。大約十年前,因緣巧合卻又重返舊路。我報讀油畫初階課程,畫著畫著,無意中愛上了畫躝藤。這修長而蜿延的植物,象徵著某些不為人知、廣泛蔓延的變化。第一次繪畫時,借用藤蔓來表達內地對香港的影響與滲透。但隨著採訪經歷愈多,繪畫浸淫愈久,我愈發覺情況是多變,而眾人反應各異。有反叛,有屈從,有歡迎,也有人選擇遺忘⋯⋯這樣,我將「藤蔓」作為一個符號,發展為一個系列,而當中的象徵意含也轉趨豐富而多變。

Extension 蔓延 (2008)

Extension (2008)

50 X 40 cm

Oil on Canvas 畫布油彩

Extension was the picture I began drawing vines. I chose it as the first picture in my solo exhibition The Other End as my artist statement.  The slander plant is a symbol to me, conveying the kind of influence from China upon Hong Kong. Vines’ creeping form shows tenacious vitality and persistent extension.

這是我繪畫藤蔓的第一張畫,在《另一端》展覽中,作為觀賞路徑的「開場白」。蔓條細長,匍匐並無限伸延的生長形態,一如內地對香港的影響。藤蔓有頑強生命力,極具象徵意義。

Knot 糾結 (2016)

Knot (2016)

60 X 50 cm

Oil on Canvas 畫布油彩

Knot is a picture cut up into several geometric sections.  Vines are the key element, symbolizing people’s discontent towards the political situation in Hong Kong.  Three-dimensional and two-dimensional flat vines were displayed in contrasting colors to show the tension between reality and ideals.

這幅畫分割成數個幾何部分,其上繪畫了二維平面及三維立體的藤蔓。蔓條是一個符號,代表小人物對政治困局的不滿。在整個構圖中,顏色與明暗的對比,二維與三維藤蔓的對立,是希望展示理型世界與現實世界的割離與角力。

The Well 坐井 (2018)

Origin (2018)

120 X 100 cm

Oil on Canvas

There is an old Chinese idiom saying: glancing at the sky from the bottom of the well. I transform it into this painting, with the big ‘O’ as either the opening of a well or the earth seen from afar. Earth is the origin of life, beginning of everything, but at contrast a corner of the sky seen from the perspective of a frog at the bottom of the well is a limitation, a dead end. Through the ambiguity of the ‘O’, I ask such a question: what are we looking for? What are our desires and hatred? Do we really know ourselves?

所謂「井底之蛙」,究竟從這井中蛙所見的天空是怎樣的呢?井是圓的,想必那片天會是圓的;那麼一個圓形、湛藍的國度,其上又有雲朵飄過,那豈不是從太虛觀看的地球嗎?這幅畫有一個大「圓」置中,你看,那會是井口之圓?還是天穹之圓呢?就在這圓邊之上,究竟我們是坐在井之中?還是井之外?又或者這口井本是置於胸臆,如一窺管,讓我們探視自身,探視自己的好惡與初衷?

Vines in this picture symbolize the idea of unnoticed external forces exerted upon us. These include mounting socio-political tensions in the sociedty, evolving ethics and atmosphere in the working environment, and even subtle changes in character and perspective at a personal level. Some people take it as constrain in resentment and fight back, while some others welcome it or accept it as a fact of life. This drags me into introspection at a more fundamental level. What is ‘constrain’? What is the ‘self’ In contrast with ‘constrain’? These queries lead me back to the ‘well’, the origin: what is our ‘self’ at the very core that distinguishes between ‘me; and ‘others’ or ‘us’ and ‘them’.

畫中藤蔓象徵外力,是不知不覺、柔韌而頑強匍匐的植物。今時今日,社會政治二元對立,辦公室講求效率與產量,這些都在不為意間改變了個人的意識與觀念,如水渲紙背。有的人視轉變為限制,頑強抵抗,有的視之平常,欣然接受改變。教我從更根本的角度推敲這問題,究竟甚麼是限制呢?其受「限制」,究竟會是怎麼樣的一個「自我」呢?這些疑問都引領我返回井邊,返回最初的那個問題:在最核心的層面,就是這個「自我」去區分「我(們)」與「他(們)」。

City 一城 (2016)

City (2016)

60 X 50 cm

Oil on Canvas 畫布油彩

I have been searching for a symbol for city landscape, not sketching the city building by building, yet viewers would still easily identify it. Through repeated experiments, I use simple rectangular strokes to compose a ‘city’. These almost monotone colour blocks gives me plenty room to add in the vines pattern so as to create a ‘vines-engulfed-city’ effect.

有一段時間以來,尋找一個符號來描畫城市,既無需逐幢逐幢大廈描畫,但觀賞仍能心領意會。做了反覆實驗,我嘗試以很簡單的矩形直線筆觸,密集排列,以組成一座「城市」。在接近平塗的色塊中,我以近似色嵌入藤蔓,製造一個「藤蔓佔據城市」的效果。

Fragments 碎變 (2018)

Fragments (2018)

60 X 50 cm

Oil on Canvas 畫布油彩

Private Collection 私人收藏

It is an attempt to compose a picture as colorful as possible, but not in florals.  So i turn to fragments.  With the disintegration of the figure, i seek to protray the status of metamorphosis.

嘗試畫一幅色彩有多繽紛便有多繽紛的畫,卻又不想畫碎花,於是想到了碎片。我將畫中人物也分割,但仍保持整合,既分又合,藉以描畫蛻化變異的狀態。

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