天趣·展評|
陳育強 陳偉邦的爵式:抽象

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Copyrights © 2018 Art of Nature International Co., Ltd

Room 1-5, 21/F, Mega Trade Centre, 1 Mei Wan St., Tsuen Wan, Hong Kong

「象外之象──陳偉邦爵式山水」

參展藝術家:陳偉邦

展覽日期:2020.04.07-05.16

展覽時間:週一至五下午1點至下午7點;週一中午12點至下午6點;及公眾假期持續時間

展覽地點:香港天趣當代藝術館(香港碼頭灣美環街1號時貿中心21樓)

 

展評Exhibition Review/

​陳育強:

陳偉邦的爵式抽象

和陳偉邦相識於八十年代,一路走來,大家初體驗都十分接近,無論教育事業與創作,我們都是同路人。這次他在順之年相辦一個展,還是一個總結?另外一個開始?

 

Clement Chan and I met each other in the early 1980s. We share similar experiences and journeys in educational career and art making. Holding a solo exhibition in his 60s, will it be a conclusion? Or another beginning?

看他的作品,我算年資從他在美國完成學業歸港,一直看他的展覽,一直認為他和當地成長的作品,都很不同,表現強而有邦度的畫作在香港看到的作品,無論在當時的氣質和體量,都彷彿受到了一種無形約制,這可能與教育和空間有關。在九十年代,陳偉邦的倒是頗為引人注目。

 

I have already taken many years to view Clement's painting. I have been seeing his exhibitions since he completed his studies in the United States and returned to Hong Kong. I always find that he is very different from local artists. He is expressive and fond of creating massive works. At the time, both temperament and volume of art creation in Hong Kong seemed to be subject to an invisible constraint, possibly related to the educational issue and limited space of Hong Kong. In the 1990s, Clement's works were very eye-catching.

陳偉邦率性自然,但怕放法,用色畫筆直,筆豪邁奔跑;某程度他不坦誠暴露他的一切,不收藏,也不物質;對他來說,是自然,也是養。自然是指一種沒有經過驗證的表情流露教義,幾乎是指他一直沿用現代主義或以降的傳統,以養是視覺文法、結構和邏輯,尤其是立體及抽象主義所表現的空間組織和筆法傳統。

 

Clement's paintings are natural and straightforward. They have proficient art language, bold and stupendous color usage, and unrestrained brushstrokes. He is not afraid to reveal everything about him nor embellish on his creations. To him, making art is both natural and self-cultivation. Natural refers to his emotions that is hardly filtered or translated; while self-cultivation refers to his inherence of modernism, which is paying great attention to visual language, structure and logic, especially the penmanship and spatial organization suggested by Cubism and Abstract Expressionism.

陳偉邦的藝術教育事業,卻在中國的日常習習包養,紮根於學業,紮根於中國的文化實踐,寓教於樂,凡哲學,詩歌,寫作,擁有,但他早年積累下來,已成為他的創作份量,“為體,西學為用”,作為他的藝術的這樣說,應該不遠。

 

Despite his western educational background, he is also rooted in Chinese culture, including philosophy, poetry, calligraphy, and kung fu. After years of refinement, it has become the core of his creation. "The Chinese knowledge as the body, the western learning for application" can be considered to fully summarize his art.

陳偉邦本次的個展,可以看到他重拾巨幅創作的樂趣。看七尺乘七尺的畫,無法想像他從美國帶回來一尺以外的構築物,看似只有九個意大幅讓情緒肆意肆虐電影,是看電影,讓陳的身體和力量,是他的畫作的表演式的畫面,記錄了畫家的畫作。

 

We can see that Clement resumes his enjoyment of creating huge works. Looking at the seven-foot-by-seven-foot painting, I cannot help but think of the huge work, which is 9-foot tall, he brought back from the United States. It seems that only a large canvas can unreservedly let out the emotions so that the body and energy are fully invested. The image becomes the trace of the painter's performance, which records his actions and thoughts. Looking at his works is an immersive experience of initiative, compared to new media art.

《狀態之十八》,213 x 213 cm,布面塑膠彩, 2022

今次展覽副題為大爵式上水,即刻音樂為大爵式,作為畫心而發的音樂,喜歡在手心里和發音樂,很有可能在音樂伴隨著音樂。是前作對筆的反應,後展前寬是不同的,對手指;不同語言的匯演,在和磨的提筆,眼睛遊走和按在延展。顏色強弱的觸感,是不同樂器的筆觸,但她的筆觸是寬大的樂器,但自己的光量、觸感是寬闊的樂器,但她的筆觸是寬大的。 ,其實已經為觀眾提供了一個重要的切入點。

Part of the title of this exhibition is "Jazz Improvisation", obviously related to jazz music. As a painter and a jazz lover, I resonate a lot. The jazz musicians constantly improvise and change the tone within a particular form, following their hearts. This stroke (phrase) is the reaction of the previous stroke (phrase), and the latter stroke (phrase) is the confrontation of this stroke (phrase). It is the weaving, confrontation and blending-in of different techniques and elements. The artist's eyes follow the pressing, twisting and extending of his arm and wrist, in front of the canvas. The brushstrokes of distinct color intensities and widths are the contests and movements of the musical notes and the textures of different musical instruments. I did see the collision of the timbres and melody of different instruments, which may not sound soft and pleasing, but the blades and swords are everywhere. Clement's use of jazz as a metaphor for his new series of work has provided a vital entry point for the audience.

陳偉邦現代主義者,其實並不隱瞞,即使受寵作為當代同代禮遇,同樣是當代藝術的理想洗禮、抽像等世界其的追求,我們在時代夾縫中的一代人,有作為他自己的幸運的追求,地方,能夠辨別在細微中尋找秩序,價值紛亂中尋找自己的力量。

Clement confesses that he is a modernist. As his contemporary, I think even we are influenced by contemporary art, it is difficult to forget the pursuit of ideas such as purity, ideal, and abstract world. As the generation living in the crack between eras, we are lucky enough to seek order in contradictions and forge our own judgment in the chaos of values.

很高興陳偉霆對她的少女,對邦的支持、應收能力;我覺得這幅作品她的作品量,同時是未來在未來更精確的拍攝現場的小展台,領悟。期待看到他不久也是未來的激勵,對我輩的一個啟示和啟示。

I am delighted that Clement is enjoying and exerting his talent and abilities at the right age and right time. I think this exhibition can be seen as a summary of his art practice of the past years. Meanwhile, it is an en route point to welcome the subtler insights in the future. I look forward to seeing his development shortly, which is also a great inspiration and encouragement to our generation.

「象外之象──陳偉邦爵式山水」

Clement Chan: Jazz Improvisation through Abstract Shanshui

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展覽日期| Duration

2022 / 04 / 07 - 2022 / 05 / 06

 

參展藝術家 | Participating artists

陳偉邦

 

開放時間 | Opening Times

星期一至五10AM – 7PM;星期六12-6PM;星期日及公眾假期敬請預約

 

展覽地點 |  Veune

香港天趣當代藝術館

Art of Nature Contemporary Gallery

荃灣美環街1號時貿中心21樓

21/F, Mega Trade Center, 1 Mei Wan St., Tsuen Wan, NT, Hong Kong

如有查詢,請聯絡Yuriy Lee (2493 7236, yuriylee@vintion.com)

For enquiry, please contact Yuriy Lee (2493 7236, yuriylee@vintion.com).