耿画廊｜展览预告｜无始无终 : 蒋友梅个展

无始无终 : 蒋友梅个展

展期｜ 2022.02.26 – 2022.04.23

开幕｜ 2022.02.26 (六) 4:30 p.m.

地点｜ 耿画廊 （台北市内湖区瑞光路548巷15号1楼）

宇宙间一切现象，包括时空在内，都是由各种因素条件互运而成，并非独立的存在。换言之，没有任何事物能够『开始存在』或是『停止存在』。唯一所存是无止境的变化。所谓的宇宙大爆炸无非也是一个连续体中的片段插曲，无始亦无终。

馬提歐．里卡，《量子與蓮花》

睽违近四年，耿画廊将于 2022 年新春展出蒋友梅个展「无始无终」（Without Beginning or End）。以横跨油彩、水墨、拼贴等不同媒材新作系列，呈现蒋友梅独特艺术语汇所辐射出的哲思光谱，如何以不同宗教、仪典、寓言、哲学系统的思辨与联结，将其融贯身体仪式的绘画寄语一片片满是幽微诗意的油彩墨迹，转译为色空一体的抽象叙事；绘写出生灭共有，无始、亦无所终的存有状态，谱出一阙歌颂给宇宙和生命的赞歌。

无始无终 4 Without Beginning or End 4  |  2021  | 沙．香灰．油彩．画布 Sand, incense ash, and oil on canvas | 直径 Diameter: 152.4 cm

蒋友梅 Chiang Yomei

本次首度亮相的「无始无终」（Without Beginning or End）油画系列中，蒋友梅以直径5呎的圆形画布为载体，延续其标志性的解构心经（deconstructed Heart Sutra）绘画，以黏胶书写梵书心经，于尚未干透的画面上再覆以香灰、沙、颜料等材料，在作画过程中一边誊写也一边摧毁其既有结构，最终于深邃绚丽的油彩肌理间，留下恍若风化的经文残迹。而此中央有孔的圆形画布，同时对应着古代象征着苍茫宇宙周始循环的礼天玉璧；以日月天体、四季循环周转的时空描述，回应佛理「不生不灭、既生亦灭」的核心哲思。

寒山 2 Cold Mountain 2 |  2020  | 水墨．铅笔．盐．胶水．金粉．纸 Chinese ink, pencil, salt, glue, and gold pigment on paper | 56 x 42 cm

而「寒山」（Cold Mountain）抽象水墨系列，则源自于 2020 年初的独特体验。疫情封城期间，蒋友梅重读唐代诗僧寒山的诗作，于无法外出的现实中游历想像的时空。对蒋友梅而言，寒山诗作如同宣扬佛理的偈，将穿梭于田园、山林的咏物书写细腻地诉诸五官感知，以此触及现世之外、驻扎于心的宇宙观。「寒山」系列的发展轨迹便自阅读与冥想间自然地延展至落笔绘画；她选择以水与墨间的对话作为寒山诗的应对——先水后墨，让两者在纸张上自然流动，再藉由笔沾取盐、盐吸食水墨的效果，在纸面上点出如时间的侵蚀感；而后更以层叠、拼贴的手法于画面上捕捉思维与记忆过程中跳跃、断续的层层意象。这些因拼贴而产生的明确边缘一如水墨作品的「留白」，以「空」解构并截断了水墨媒材原本在时间／空间上的延续性感受；似是在滔滔思潮中的片刻清晰，也像是连续时空里倏然闪现的片段，令此于「渔山草堂」注一 谱写另一维度中的寒山游记，成为蒋友梅与大师们跨越遥远时空的一场对话。

蒋友梅 Chiang Yomei

在这十年间，蒋友梅的作品无论是绘画或诗作，都已从最初「心火」注二 阶段那般具有饱满个体情绪的状态，转变成更为轻盈、自在的思辨形式；仿佛在这样的过程中，记忆与思维的二元时空逐渐模糊了界线，令艺术家的知觉与专注从自身观照开始向外部的不同维度扩散。在本次亮相的作品面貌中，越趋抽象的画面表现以及其中某种更趋近个体状态的自性描绘，也能明显感受蒋友梅在个人状态上的推展，一如蒋友梅于其绘画同名诗作《提洛岛 Delos》注三 中所述：

无始无终的故事

随风起落

空中有色

无声的脚步

唤醒了历史的尘埃

层层影像   忽隐忽现

像一群婆娑起舞的托钵僧

浮现在脑海

且听：

初音

穿梭在石墟间

回荡十方

蒋友梅,《提洛岛 Delos》

注一：「渔山草堂」，蒋友梅于英国伦敦工作室名

注二：「心火」，蒋友梅于 2011 年首度于台北耿画廊举办的个展

注三：《提洛岛 Delos》，与蒋友梅 2019 年绘画系列同名诗作；提洛岛是座落爱琴海上的希腊小岛，希腊神话中阿波罗的出生地，为古希腊宗教圣地与神话核心。

Without Beginning or End: Chiang Yomei Solo Exhibition

Dates｜ 02.26–04.23.2022

Reception｜02.26.2022(Sat.), 4:30 p.m.

Venue｜Tina Keng Gallery (No. 15, Ruiguang Rd., Ln. 548, Neihu Dist., Taipei, Taiwan)

[N]othing, not even the apparent start of time and space, can come about without causes or conditions. In other words, nothing can start to exist or cease to exist. There can only be transformations. The Big Bang must then be a mere episode in a continuum without a beginning or an end.

Matthieu Ricard, The Quantum and the Lotus

无始无终 5 Without Beginning or End 5  |  2021  | 沙．香灰．油彩．画布 Sand, incense ash, and oil on canvas | 直径 Diameter: 152.4 cm

For spring 2022, Tina Keng Gallery is pleased to present Chiang Yomei’s first solo exhibition in four years: Without Beginning or End. Traversing multiple media including oils, Chinese ink, and collage, this new body of work reveals the philosophical spectrum that radiates from Chiang Yomei’s inimitable artistic vocabulary. The artist conveys her contemplation of connections between various religions, rites, fables, and philosophies through paintings that translate bodily rituals into canvases full of poetic oils and accordion albums filled with ink traces. Each work — an abstract narrative that unifies form and emptiness — depicts a state of existence that embodies both birth and demise with neither beginning nor end, in a love song to the universe and life.

树之歌 2 Tree Song 2 |  2021  | 蒸馏伦敦梧桐树皮．铅笔．盐．纸 Distilled London Plane Tree bark, pencil, and salt on paper | 70 x 50 cm

Debuting at this exhibition is the “Without Beginning or End” series where, continuing in her iconic deconstructed Heart Sutra paintings, Chiang transcribes the entire Heart Sutra onto a circular canvas that measures five feet in diameter, using adhesive, sand, and incense ash, deconstructing the text simultaneously. When completed, what is left are the ghostly remnants of the Sutra and the intention behind the process of transcription. Oil paint is applied after the first layer dries. The circular canvas with an opening at its center corresponds to the form of ancient bi jade that honors the heavens, the cyclical nature of seasons, and movement of the stars, while resonating with the core Buddhist philosophy of “That which is not born will not perish, that which has life must perish.”

仲冬 Midwinter |  2021  | 综合媒材．沙．油彩．画布 Mixed media, sand, and oil on canvas | 152.4 x 152.4 cm

The “Cold Mountain” series emerged from a unique experience that had occurred at the beginning of 2020, when Chian greread the work of Tang-dynasty monk poet Han Shan during the pandemic lockdown, transporting her from the reality of home confinement to an imaginary landscape. To Chiang, Han Shan’s poetry comprises not only hymns that reflect the philosophical teachings of Buddha, but also writings on philosophy, rural life, mountains and woods, and celebration of objects in poetic discourse. Upon closer reading, it is easy to see Han Shan’s nuanced sentiment resonate exquisitely with the world, as well as a cosmology that resonates from the heart, unbound by time or space. The developmental trajectory of the “Cold Mountain” series organically evolved from reading and meditation into wielding the brush to paint. She chose the dialogue between water and ink as a response to Han Shan’s poetry. Applying water before ink, the artist allows the two to blend in intuitive rhythm, while sprinkling salt onto ink to conjure a temporal sense of erosion. This is followed by overlay and collage techniques to capture the intermittent layers of imagery in thought and memory. The defined boundaries resulting from collage create white space evocative of the act of “leaving spaces” (liu bai), a traditional literati practice which deconstructs the sense of space-time continuity through “emptiness,” much like a moment of clarity in an undulating sea of thoughts. This Han Shantravelogue written in another dimension at the Fish Mountain Studio[1] becomes a dialogue between Chiang and the masters that spans time and space.

寒山 33 Cold Mountain 33 |  2021  | 水墨．盐．压克力颜料．纸 Chinese ink, salt, and acrylic on paper | 直径 Diameter: 110 cm

In the past decade, Chiang’s painting and poetry has transitioned from a vessel of personal emotion seen in her solo exhibition Spark[2], into something lighter, unburdened, and liberated. In this process, the boundary between the temporospatial duality of memory and thought have seemingly become obscured, precipitating a shift in the artist’s perception and focus from the self into external dimensions. In the works unveiled in the current exhibition, there is an increasingly abstract visual expression and an essence of being that manifests the artist's progression in her own state of existence, as Chiang Yomei pens in the poem “Delos”[3]:

Presence in absence

Shadows shape-shifting

with each retelling

 

Silent footfalls

awaken the dust of time

Images

whirling like dervishes

in my mind

 

Listen:

Luminous song

unfurling from the source

Resounding

with echoes from other worlds

[1]Fish Mountain Studio is the name of artist Chiang Yomei’s studio in London.

[2]Spark was the title of ChiangYomei’s 2011 solo exhibition at Tina Keng Gallery.

[3]“Delos,” a poem eponymous to Chiang Yomei’s 2019 painting series references the Greek island on theAegean Sea, the mythical birthplace of Apollo. It is a site central to ancient Greek mythology and religion.

提洛島 11 Delos XI | 2019 | 油彩．複合媒材．畫布 Mixed media and oil on canvas | 31 x 31 cm x 4

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