自休式 – 胡竣杰、陶纲、罗文欣三人展

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简介

「自休式」取自「自修室」的谐音，有自我修练、思考、沉淀，与自我对话的空间之概念。每个字皆有双重意涵，「自」可以解释为自然、自己，「休」可释为休息、休止，「式」可代表仪式、形式。在全球人类共同面临严峻挑战之下，疫情迫使世界按下了暂停键，让每个人都有足够的时间与空间来反思自我的人生状态。索卡艺术将于2020/6/27（六）至8/8（六）举办《自休式 – 胡竣杰、陶纲、罗文欣三人展》，展出作品包含三位80后艺术家在防疫期间的艺术创作。本展览欲透过这些探讨自然与自身关系的作品，让观者静下心来，体验一场自我探索的仪式性经验，进入作品中找寻艺术共感与心灵慰借。

The term “自休式 (pronounced ‘zhi-hsiu-shi’, meaning ‘resting style’)” is a homonym of “自修室 ( meaning ‘study room’)” in Chinese and incorporates the concept of a space for self-cultivation, reflection, a retreat, and a dialogue with oneself. Each of the Chinese characters holds dual meanings - 自 (zhi) means self or nature, 休(hsiu) may be interpreted as rest or stopping, and 式 (shi) may represent a ritual or a format. While the pandemic has forced the entire world to pause and face severe challenges, people are also serendipitously allotted enough time and space to contemplate the conditions of their own lives. From June 27 (Sat) through Aug. 8 (Sat), 2020, Soka Art will be hosting “Self Rest - Hu Jyunjie, Tao Kang, and Lo Wenhsin Trio Exhibition”, showcasing artworks created by three artists born in 1980s during the era of the pandemic. Through artworks that explore the relationship between the self and nature, this exhibition allows viewers to calm down and experience a ritualistic journey of self-discovery, centering on the artworks in search of artistic resonance and spiritual comfort. The artists will attend the reception on June 27 at 4pm. Welcome to join the event.

胡竣杰 Hu Jyunjie

胡竣杰是位兼具浪漫诗性与刚毅理性的雕塑家。他的钢铁雕塑创作自中国古典汲取养份，并在不同金属材质的揉合中，赋予作品当代艺术的元素与自我情绪的投射，创造出他心中的立体文人畫。在作品《溪亭客话》中，他跳脱传统山水构图，再现了宋代刘松年所绘挺劲伫立的松木。此树从具有强烈山石感的篓空圆形造型内侧生长而出，镀铜表面闪烁金光，散发出文人的峥嵘节气。当代抽象的中空造型提供想像空间，邀请观者进入宁静又富含精神力量的雕塑山水，与作品所处的环境与自身进行对话。

Hu Jyunjie is a sculptor who employs romantic and poetic qualities along with a resilient sense of rationalism. Drawing from elements of Chinese classical paintings, his iron and steel sculptures express an imagined three-dimensional literati painting via an amalgam of various metals, imbued with contemporary artistic elements and personal emotional projections. In the work, Guest Muses in a Brookside Pavilion, he breaks away from the format of traditional landscape composition while reproducing the firm-standing and tall pine trees painted by Soong Dynasty’s Liu Songnian. This tree grows from the inside of the round opening of the mountainesque rock formation. The copper-plated surface glistens, exuding the high literati spirit. The contemporary abstract hollow shape provides space for imagination, inviting viewers to enter into a tranquil, spiritual, and sculpted landscape and engage in a dialogue between the self and the environment of art.

陶纲 Tao Kang

陶纲是水墨界的背包客，他以相机捕捉旅行经验，再采用默片般的色调与解构切割的影像表现，呈现多视点、多层次的空间思维。他拥有如同修行者的超凡耐心，运用毛笔一点一点，划出无数大小不一、浓淡深浅的点，勾勒出不同层次的山形树木，再用矿物颜料结合自然山水与空间造型，展现当代的前卫与绚丽，却又融合传统水墨留白的宁静诗性。对他来说，每个畫面都有独特色彩与因人而异的故事，是记忆中的空间与内省式的独白，皆弥足珍贵，值得一再细细回味。

Tao Kang is a backpacker in Chinese ink expressions. He captures travel experiences with his camera, and applies a silent film palette along with deconstructed images to present multi-perspective and multi-level considerations of space. He possesses extraordinary patience on the same level as a religious practitioner, and uses a brush to create countless dots of various sizes and shades, outlining layers of trees and mountainous contours. Mineral paint is then applied to combine natural landscapes with a spatial layout that displays a contemporary avant-gardism and splendor, while simultaneously merging the traditional quiet poeticism of the spatial element of ink wash. For him, every picture has a unique color and different story based on the storyteller. It is a space in memory and an introspective monologue, all of which are precious and worthy of iterative reflections.

罗文欣 Lo Wenhsin

罗文欣善于运用代针笔、蜡笔与炭笔等书写性媒材来创作。对她而言，在划纸上刻、琢、磨的过程中，那种将要把划纸划破的快感，反映出她坚持展现创作过程中的力度轨迹以及情绪表现。在《南国》这件作品中，台湾南方带有怀旧风情的椰子树林，在她细致线条的反复刻划、擦拭与琢磨之下，成为了纸上浮雕，让观者彷彿能感受到徐徐吹拂的暖风，植物细微的颤动，以及大自然给予的身体经验，以简单纯白的天与地，为观者留一片安详的宁静。

Lo Wenhsin excels in the use of writing tools, such as fine-liners, crayons and charcoal. For her, the process of engraving, sculpting and grinding on paper, and that thrilling sensation of scribing paper till it is on the verge of tearing, all reflect her persistence in revealing trails of strength and emotional displays. In the work, Southern Region, her delicate lines repeatedly move back and forth to draw nostalgic coconut groves in Southern Taiwan, erased and indented to create a paper relief such that viewers seem to become aware of the soft blowing wind and subtle tremors of the plants and recall their own personal experience of nature. The simplicity of white sky and earth preserves a sense of peace of serenity for the viewers.

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