"In Search of Lost Time" Shiu Sheng-Hung & Wen Meng-Yu Duo Exhibition
展期 | 2018 / 03 / 17 - 05 / 06
地點 | Telling Arts | 疊藝術 台北市光復南路415巷40號
開放時間 | 星期一至日，下午1時至8時
Telling Arts | 疊藝術 開春第一檔展覽「追憶似水年華」將於本週六開展，由活躍於國際展覽舞台的兩位優秀青年藝術家許聖泓和温孟瑜聯合展出。此次雙個展以法國文學家馬塞爾‧普魯斯特（Marcel Proust）回憶錄式的自傳體小說《追憶似水年華》為名，意喻作品有著具流動性的敘述方式，過去、現在、未來交疊滲透，畫面中沒有人物，沒有完整的敘事，拾起散落的片段記憶，將生活經歷與內心活動交織在一起，現實和回憶相互疊合，重新復刻與再觀看，尋回逝去的時光。
每座森林作為隱喻有著自身運作的生態體系，有時候我們只是暫時路過。在這每一片刻短暫相遇的過程中景色依舊、人事已非甚至全然更替、消失，而我們始終仍不斷穿梭於不同體系間，在互動交流中找尋自身的位置。風景中刻意沒有人被安排在畫面裡，然後每一個風景都是與不同的人在不同的時間點彼此交織構成所留下的痕跡。」 ── 許聖泓
以日常作為個人創作的基底，在反覆描繪與調色的同時，期許能將日常的私密轉化為一種共有的場景，切入情感之外的連結。」 ── 温孟瑜
The first exhibition of Telling Arts in spring "In Search of Lost Time" is going to be launched in this Saturday. This exhibition is co-performed by two outstanding new generation artists, Shiu Sheng-Hung and Wen Meng-Yu, who actively participate in international exhibition stages. This duo exhibition is named after the memoir novel “In Search of Lost Time” by the French writer Marcel Proust. This is a metaphor to point out that this exhibition has a flowing narration style, the past, present and future are going to crossover. There is no person in a scene, not a complete narration. We pick up the scattered memory fragment, we intercross our life experience with mental activities, and we stack up reality and memory. We reappear and replay to revisit the lost time.
“The source of image of this landscape painting series mostly comes from my photos in my trips or travels.
To me, painting is a media. I paint in front of the photos that I took in the past. I do not draw to reveal these scenes, but the imagination that came from my reflection on my state during painting, my living environment and the scene that had already changed. Through painting, I connect the past to the current time and mix them on a canvas. It then becomes an image that is about to be shown in an upcoming moment. Some connections connect to unknown, and painting is the initiation of this digging process. Painting these landscape paintings is like gathering the scattered life experience here. Painting is a task to painters that they handle their relationships among themselves, space and time continuously.
As a metaphor, every forest has its ecosystem that functions in its own way. Sometimes we just briefly passed. For every brief moment that we meet, landscape remains the same, yet personnel and situation are no longer and vanished. And we continuously travel among different systems, to find our own places through interaction and communication. There is not a single person in a landscape scene on purpose, and every scene is a mark that people leave when they meet different people in different time.” ── Shiu Sheng-Hung
“My creation focuses on the delicate emotion in life. In the daily life atmosphere, I thoroughly depict the inner situation that is constructed by space and items. I use the method of situation stacking to arrange the scene fragments on the physical area of a canvas, and to reorganize the space that is constructed by feeling and scene. I use especially those indoor scenes that surround and close to the face of daily life to become my main theme of emotional projection during creation.
Among all, an observable topic of creation is the relationship among items. No matter graphics, the placement of furniture and items, the arrangement of print patterns, or the previous emotion and marks that are hidden under graphics, they all become the details that I elaborate in my paintings. I try to make items to become a metaphor of the relationships among people. The metaphor implies the distance of watching and the existed location. Through an intimate and familiar perspective, they are all settled in a creation.
The space in the creations is constructed by plain and patterned style. It is made by the thickness of color and the texture quality to stack up the style about indoor area. The use of print patterns condenses its complicated creation time. I converse those flatten layers into the delicate texture on a canvas, and through replication and transformation, they are granted for meaning. The use of technique is displaced by the style that I observe space, and in the process there are staged appearances and differences created.
The basis of my creation is daily life. During the time that I repeatedly depict and mix color, I expect that I can transform the private daily life into a commonly shared scene, and build up the links other than emotion.” ── Wen Meng-Yu