藝博會｜香港巴塞爾藝術展｜Booth 3E14

大未來林舍畫廊於2025 Art Basel HK帶來五位現當代藝術常玉、吳大羽、蕭勤、陳道明和趙趙的創作，透過跨距百年華人藝術家的創作，以東方藝術的審美視角，探討藝術家如何運用當代視覺語彙，對西方藝術及自身文化展開回應。從東方藝術發展的脈絡上來看，「水墨」、「書畫」正是承載老莊禪宗思想的重要表現形式。華人藝術家把握筆墨背後文化美學的精神，重新演繹傳統文本為當代語境，以獨特的視角各自展開與傳統的對話。其中，趙趙更獲選於大會主辦的Kabinett策展角落並帶來全新創作《草木》系列。

Sanyu used different materials to illustrate the contours of human body, and assimilated the Chinese water ink techniques for a transformative and an abstract endeavor. He had softened the style of Chinese literary paintings and Western modernism, endowing on the traditional Chinese art, a soul of his own. In the early stage and under the influence of Parisian romanticism, his canvases were mostly constituted by white, pink, yellow and the light ink patches. The canvas was elegant and the form was simple. Inspired by lacquerwares in the later stage, Sanyu was fonder of outlining flowers, leopards, nudes on the pitchy dark base, or dark lines on the dark background, giving the work an oriental ambience.

無題 Untitled, 1970s

油性蠟筆．紙 Oil crayon on canvas, 14.8x10.2 cm

吳大羽嘗言：「勢象之美…似佳句而不予其文字」，從這段回應禪宗那不落「有」、「無」的話中，可見到其創作的中國美學根源，也更可理解藝術家如何通過「勢象」、「光色」、「韻調」藉以傳承並演繹「氣韻生動」的筆墨傳統。形（生動）來自於「光色」，而勢（韻）則是「韻調」，象（氣）則是勢象，正是在這美學視野中，吳大羽的作品始終予人「似而非像，不落形象」的畫面，筆法瀟灑奔放，色彩鮮明抒情的空間韻調，以及其傳達出的精神與自然和調的精神氣質。

Wu Da-Yu has said, “Beautiful dynamism [...] is like a well-wrought sentence whose essence is read instead of its words.” This statement responds to the Chan Buddhist idea of not focusing on being and nothingness, and shows us how Wu’s art is rooted in Chinese aesthetics. Through dynamism, lakshana is born; through light, appearance is formed; and through rhythm, momentum is generated. It is from this aesthetic perspective that Wu Da-Yu creates impressions that resemble something without being literal. His wild brushstrokes and vivid colors form rhythmic spaces while delivering a spirit of natural harmony.

蕭勤的作品源自道家及禪宗的哲學思想，融合東西方文化及現代藝術創作經驗，以直見心性的手法，來實現本我之精神自覺。作為50年代中葉推動中國現當代藝術的急先鋒，更是在歐洲推動中、西方當代藝術交流的第一人，蕭勤不僅影響了台灣現代美術運動，更在「中國美術現代化運動」的時代課題下，為中國傳統的思想與媒材，找到了一個新的結合與呈現的方式，同時也為國際前衛藝術的舞台上，提供了一個東方人特有的觀點與形貌。

Hsiao Chin's work develops from Taoist and Zen philosophies; his art blends together Eastern and Western cultures and creative modern art experiences, with self-awareness realized through an approach that unveils innate characteristics in a straightforward and frank manner. Be a vanguard of Chinese modern and contemporary art in the mid-1950s, and he also spearheaded Chinese and Western contemporary art exchanges in Europe. Hsiao not only sat into motion the "Modernist Art Movement in Taiwan" and developed new methods of combining traditional Chinese and western thought and materials in the issue of the Modernization Movement of Chinese Fine Arts, he also offered the perspectives and sensibilities of an Asian individual upon the international art stage.

陳道明的作品充滿了東方與西方繪畫策略與材質的對質，通過把「時間」融入視覺表現與媒材的處理方式而達到和諧。藝術家熱衷於媒材、造形、和色彩的探索，其畫作運用壓克力、水彩等水性顏料的流動性，取代了厚重濃鬱的油彩，渲染出具有音響律動、有如大氣雲圖般的畫面，透過快意大筆或細緻推移，使具象物質和抽象氣韻在畫布上交鋒，營造出視覺上自由瀏覽的時間性空間，呼應著藝術家內在氣韻生動的生命意象及對「時間」瞬間的捕捉。

Chen Tao-Ming's work is full of contrasts between Eastern and Western painting strategies and materials. He has been eager to explore the variations of materials, formations, and colors. He made use of the fluidity of water-based paints such as acrylics and watercolors to generate atlas-like tableaus vibrating with musical rhythms. The concrete matters and abstract momentum come to clash on the canvas to allow the mind to freely wander in time, reflecting his inner vibrancy of life and the capture of time.

Zhoa Zhao’s works which combine traditional and contemporary elements, explore his philosophical thinking between East and West, and reveal his connection to his own culture. His new series “Seeds” goes beyond the traditional depiction of floral scenes. Colorful flowers with dots explore the continuity and cycle of life. And the title “Seeds” refers to the Zen thoughts of the life circle.