Saturday, 31 December 2011

self 2011

结局或开始
三十一而立,细水流长。
从被追赶到自发狂奔,感谢鞭策。
勉励还没结束的,面对未知。

整理了2011 的作品,谢谢支持。

Sunday, 6 November 2011

ARTIST'S STATEMENT NOV 2011

Personally, I am interested in the connection between “still” and “life”.


I deconstruct and rebuild visual relationships as I draw on figure, everyday objects and space. This is not to depict literal dismemberment, but rather to augment the disconnected, anxious tension between themselves, their bodies and immediate surroundings.


By adapting the formula of classical painting, I shape representation form with black outline accordingly to my collective conscious, which inspired in daily life, and then I purified my intended images with white pigment by overlapping the previous black outline. At last, I apply an even paint onto surface, to reveal what eye sees: colors, shapes, optical phenomenon. Color isn't playing any significant role to portray my feeling.


In my artwork, narration and expression are not my concern. “Form” is my intention. I am inquiring into a formula that can completely record the sensational experiences. My process of painting is like withdrawing a drawer, and then inserts it back after clearing and cleaning it.



我相信贴身事物与身处空间构成个人生活。

我透过刻画物件、空间、人的关系,呈现人的生活状态。


我抽取生活场景的片断、日常物件的形象与活动中的人的姿势,透过视触的方法——象盲人般的以线条触摸,把人、物与空间同时建构、结合。当中出现的错置、失焦,与事物在空间中的移动轨迹有关,也与观感上的错觉有关:当视线集中在一点时,两旁的空间会重叠或出现偏差。黑色线描总结了我的触觉轨迹,整体尚是一团混沌。接着我再以白色线描覆盖,把片断连接,整理出些许轮廓。最后为形象确定的事物填上其原色。


相对于叙事或抒发,绘画形式的探讨是我最感兴趣的。对我而言画画在于整理我的感观经验,当中的逻辑就像整理一个抽屉: 我习惯先把东西个别取出,擦拭干净再分类重新置入。在我的作品里结构等于造型,好比把隐藏在雕塑里的支架曝露;而颜色则仅是表面的呈现,不表现主观情感。


Figure in Sofa I
2011 / Oil on linen / 156 x 140 cm

Figure in Sofa II
2011 / Oil on linen / 168 x 182 cm

In black and white events of ‘Figure in Sofa I’ & ‘Figure in Sofa II’, I am depicting a fluid human form in the sofa which place in a living room. I translated the visible objects into my vision; I am capturing the movement of still life and suggesting a quiet but pervasive depression atmosphere in a timeless tense of a living room.


椅子是我的常用主题, Figure in sofa I Figure in sofaII 捕捉如肉团般滩在沙发里的人的姿势。少了骨架支撑的肉体似乎遭沙发吞噬,是我观照自身的生活经验得出的形象。


Falling Figure in Bathroom
2011 / Oil on canvas / 110 x 100 cm

The falling gesture images came from my memory, on the daily news letter that i have been through. I feel insecure, with the victim’s state of mind, to the hidden crisis that might come to me in anytime anywhere.


往下坠的姿势是我的另一个主题,出发点是关于坠楼的社会新闻,投射我对日常生活中隐藏的不可知的危机的一种过虑、被害的心里状态。




Nothing Happened Here
2011 / Oil on linen / 200 x 300 cm (tryptych)

Study on a sequence of motion (walking). I tried to restore the scene of a petition from various aspects, based on personal experience. I paint everything with black lines: the possible details and process, and then I cover/ rubbing off everything with white paint.

I doubt the authenticity of my life, through the information that is reported in mainstream media, through the contradiction of being an active facebooker to the great silent majority, through the invisible warning lines everywhere.


这是一幅三联画,关于一场请愿活动,背景是城市一隅,作品记录了我的亲身经历。我用黑色线描把事件勾勒出来后,再以过分的白又把一切掩盖。作品比较了自身所见的真实与媒体所呈现的支离片断;旨在探讨主流媒体的限度,反映对真相的锲求。



Tuesday, 1 November 2011

LOCATION OF HOM






By car:
Easiest way is to take the last exit on the AKLEH (Ampang exit). Follow the road, and turn right at traffic light. Go straight until you see Petronas and Caltex on your left, about 50m afterwards, turn left at the mamak called D'Klasik. Find parking.

From Jalan Ampang (if you're coming from KLCC), go straight all the way, passing by Gleanegles and Ampang Point on your left. After taking the overhead bridge next to Ampang Point, turn right at the second traffic light. Go straight until you see Petronas and Caltex on your left, about 50m afterwards, turn left at the mamak called D'Klasik. Find parking.

On the MRR2,(If you're coming from Cheras, make a U-turn under the bridge right after Tesco Ampang.) If you're coming from Ampang, Tesco will be on your right, Perabot Cempaka on your left. Stay left, and turn left at the second traffic light. (There will be a signboard saying " Jalan Cempaka"). Menara Axis will be on your right. Go straight until see rows of shoplots on your right. Turn right and go into the housing area, take first right and find parking.

By train: Star LRT (Ampang Line) station Cempaka. HOM is 3 minutes walk from the station.

Saturday, 9 July 2011

yellow shirt



Let's DIY your own "yellow" shirt.
Material: Masking tape, Fabric ink/ Acrylic, Scissors & Clips.

Tuesday, 8 March 2011

Sequential Narratives

Sequential Narratives:Galeri Chandan,19 February - 18 March 2011

我以为展览的出发点是发掘漫画这当代载体的可能性。

利用漫画符号来进行架上创作早不是鲜事,从普普年代的Lichtenstein到村上隆的Super Flat,英雄主义到御宅族,形式随读者群改变,嗅觉敏锐的艺术家每每都让我惊呼“咁都得”!

然而,从形式本身着手,直接使用漫画这载体以表现/发展艺术的可能性,更让我感兴趣。

随着创作形式的跨界、重叠,同时浸淫在漫画与架上绘画的我常会在画画时想故事,在画故事时又怀念起形式的纯粹。对形式的实验、形象的借用都是我当下热衷的。若"comic abstraction" 是最为我所好的架上绘画形式,地下漫画则以"cult"文化让我狂热。

Cult 的思潮起于美国的B级电影,不完整、错漏百出的设定、荒诞的剧情、暴力与性虐待、淋漓尽致的感官快感、黑色幽默... 最可爱是不按牌理的叙事方式:急转直下、反高潮。从B级文化吸收养分,导演如高氏兄弟、Spike Jonze、Quentin Tarantino等都拍出了艺术的高度。漫画方面,美国与加拿大也是个中表表者, 虽说都是地下漫画作者但有不少已是展馆常客。

这次的展出作品有好些是正职的漫画作者,一些偏向插画,纯美的较少。可能没有明显的主题,展出的作品只注重把漫画表现在不同的载体上:如动画形式、雕塑或架上绘画(有些是digital print on canvas)。一般的叙事手法,常见的画法,内容通俗。我的作品入选原因大概是因为丝印在布上吧'''。(突然怀念起cutie cultie comic show添!)

我的参展作品:Why are they not coming to town? 说的是为何大家都不来番薯国?圣诞老人怕火烧教堂、Harry Porter 怕挤不上火车、蜘蛛人怕被从14楼丢下... 想以西方中古的黑色寓言方式作一警世漫画。丝印了两份,第一分印在信封上,之前参与了新加坡的Pameran Poskad 2010展。

Sunday, 6 March 2011

Busy Rider


憧憬Easy Rider里的无尽公路,画了Busy Rider。 从一点出发,不预设故事,不做草稿,规定自己一天画一页,把当天经验的、所见所闻发展成故事。象是小学生写日记般纪录生活、身处的环境,最后手工限量地印在我的小学练习簿里。

Busy Rider成为了第14届日本文化厅媒体艺术祭漫画项目的评审推荐作品(评审包括《恶魔人》的永井 豪 与《沈黙の艦隊》的川口开治 ^^),并在东京国立新美术馆展出。由于是漫画项目获得评审推荐的唯一外国人,所以馆方与我作了进一步的访问交流。

让大家感兴趣的是在马来西亚的漫画资源如何?认识哪一些日本漫画家?当大家还为我举的众多例子惊讶同时我告诉了他们翻版国的事实。虽说逐渐有少部分的正版入口商,但便宜的翻版漫画确实丰富了大家的童年。同时我也透露了本地漫画工业的趋向,创作的类型... 虽不致蓬勃但不乏默默耕耘者。

而最为欣慰的是大会对漫画的接受能力,对我近乎(根本就是)涂鸦的粗糙画法给于认同^^''' ,并尝试理解我的制作心态:发展漫画的可能形式。这对我真是很大的鼓舞。

相关报导

Sunday, 20 February 2011

Ouch!

Ouch!/ Oil on canvas/ 120cmx 40cm

主办单位House of Matahati 限制作品尺寸在120cm x 40cm,主题为Horizontal or Vertical。

是个被困的空间,大小刚好容下一条腿,再加上一枚桌/椅脚、绊歪的尾趾... 想描述生活中一些受制的窘况、无力感。

我刻画的是空间与人、事、物的关系。空间是一永续载体,人、事、物则相对流动、变幻。若把一空间隔离观察,在物理上空间里的事物虽随时间流逝起变化,但并没有任何事物从空间中消失过,也不曾无中生“有”;“生”与“灭”不过是物质的转移,而时间是变化的主因。

相对于叙事或抒发,形式的探讨是我最感兴趣的。对我而言画画在于整理我的观感经验,当中的逻辑就像整理一个抽屉: 我习惯先把东西个别取出,擦拭干净再分类重新置入。


参考了古典技法,我把造型与着色分成三个层次处理:
先以黑色线描法,透过视触—— 用眼睛触摸,把空间与事物同时勾勒、结合。当中出现的错置、失焦,与事物在空间中的移动轨迹有关,也与观感上的错觉有关:当视线集中在一点时,两旁的空间会重叠或出现偏差。

黑色线描总结了我的视觉轨迹,整体尚是一团混沌。接着我再以白色线描覆盖,整理出些许轮廓。当中偶尔会生出一些意料之外的形象,我把它看作是时间流逝过程中物质转移的结果。

第三层关于颜色。造型对我好比雕塑的支架,隐藏在内里,虽不可见但却森严密布;而颜色则仅是表面的呈现,是刹那的印象。我把受光影响的细微颜色变化抽出,不表现主观情感,只呈现我所见物体的原色。




Thursday, 17 February 2011

The Pleasant Dance


Oil on wood block / 25 x 19 cm each

四小幅:把古典技法、木板画、老Pieter Bruegel的形象置入分离、受制的空间,以500年后第三者的视角观望。那多出来的肢节与褪蚀的部分是我观感的总结:空间里的事物并没有消失/更新,不过是退后或浮上而已。

作品一月份参与了House of Matahati主办的Merapi Eruption展览,现正在poco静靠着:)

Saturday, 1 January 2011

self 10

谢谢2010!