EXHIBITION

日期 Date：

10 - 29/04/2021    11:00 am - 9:00 pm

30/04/2021            11:00 am - 6:00 pm

費用Fee：Free

地點 Venue：JCCAC L1 Gallery

查詢: 9858 8520 Edward

展覽圍繞着香港城市景物的描繪。

‘看風景時，我們總是旁觀，遙遠的帶着距離而不知道身處其中。’

這次展覽描繪的不是遠處風景，不是視線未能負擔神聖的距離。這是2019年至2021年香港獨有的風景。這個景物成為一種記憶，我們身處其中並且成為風景的一部份。看見的景物，是一種表象，覆蓋我們內部風景的日常，在繪畫中，游離的手勢，讓我們撥開一層的遮蓋，我們把景物的距離貼近至皮膚上，溫度成了四季，傷口成為河流。我們需要在這城市風景找一個出口，從日常框架中流出。

社會的拆解重組，帶來了改變，這是一種集體揭視，形成一種集體傷口。我們直接面對社會不同群體的對立戰鬥，新的社會結構形成。「在表現上藝術作品將自身揭露為社會的傷痕；表現是其自主型態的社會酵素。」

作品其中的靈感來自班雅明在《歷史哲學論綱》 一文中提及保羅‧克利(Paul Klee, 1879-1940 ) 的畫作《新天使》 的描述。新天使站在當下，背向未來，面向過去層層堆積的歷史廢墟，期待救贖的降臨。救贖就在當下，站在當下回顧過去歷史和傷痕的碎片，從過去種種醒悟過來，轉化過去的記憶碎片，以反射出閃閃靈光。 作品期望展現出新天使看到的香港景像，例如建築物，自然環境等，結合想像抽離這熟悉的結構，帶有熟悉的陌生感，象徵性的建築物以及符號，使用流動抽像的形式打散，象徵與符號在形象的破壞上，得以重獲自由。我們觀看香港，又聯想到香港以外的。

’When we go sightseeing, we always look on the scene, we just look on from a certain distance but don’t know we are in the midst of it’.

This exhibition is not describing a cityscape in a certain distance, and is not describing that we can’t bear in this the holy distance.  This is the unique scene of Hong Kong from 2019 to 2020.  This scene becomes a memory, we are in the midst of it and become part of the scene.  What we see in the scene is just a representation, covering our daily inside scenery.  The free way of drawing let a layer of cover be poked, the distance of scenery is put near our skin, the warmth becomes four seasons, the wound becomes a river.  An exit for this cityscape is needed and is flown from the daily frame.

The reconstruction of a society brings change, this is a collective reveal and it forms a collective wound.  We are facing the battle of confrontation and it forms a social structure.  “In terms of performance, artwork reveals itself as a wound of the society; the performance is the social enzyme of its autonomy.”

The inspiration of the artwork is from Selected Writings: vol. 4. in “Theses on the Philosophy of History of Walter Benjamin who talked about the paintings of Paul Klee (1879-1940). New angel stands here and now, ahead of the future and facing layers of ruins of the past, waiting for the salvation to come.  Salvation is here and now, standing here and now to review history and fragments of wound.  Waken up by the past and transform the fragmented memory so as to reflect the shining aura.  The artwork reveals Hong Kong’s scene from the viewpoint of new angel, e.g. combines buildings, natural landscape with imagination to detach this familiar structure.  Using the way of flowing abstract to disperse the strangeness in familiarity, signature buildings and symbols.  By destroying the signature and symbols, freedom is restored.  We are looking at Hong Kong and associating with places outside Hong Kong.

在2019 年香港油麻地的街道上收集了一些燒過的木材和玻璃碎片，這成為作品的主要原材料，這種收集物件和回憶的過程中，就好像考古發現般去發掘香港近代化石。

如果傷痕是來自阻隔的衝突，療癒就是回歸到本源的關係。把承載城市影像記憶的圖畫放下，放到自然環境，等待4天，甚至40天，自然地收集落下的樹葉，昆蟲……當中的痕跡見證着時間的轉變，也記錄了物質腐化的過程，這是存在者向存在的轉化。將這腐化的城市，放在哪山上，在當下的陽光中等待著，向高山舉目。社會的重量，在大自然當中分解，下降至泥土，人的失望和創傷被放到宏大的自然背景中。

If wounds are from the confrontation of obstruction, healing is the return to origin.  Forget the memory which include the images of this city, put them in the nature and wait for 4 days or even 40 days.  Let natural leaves fall and insects crawl onto them…all the traces witness the change of time, and also the decomposition.  This is the change of existence by the being. Put this decayed city on the hills and wait under the Sun here and now.  Lift up the eyes on the hills.  Let the weight of the society decompose in the nature and sink to the soil.  All the disappointment and wounds were put into the great nature.

以鞋和路面的磨擦作為磨鏡方法，行走在銅鏡之上，步行的聲音放大了，提醒著節奏：步行、磨擦、脫落。當下常恐懼銅鏡脫落，步步為營，銅鏡脫落後成為收藏的記憶。在習慣了這節奏以後，放下失去銅鏡的恐懼，以一種輕快遊歷的心情觀察著四周。

Using the rubbing of shoes and the floor as a way of polishing the mirror, when stepping on the copper plates, the sound of the steps were amplified, reminding me of the rhythm: walking, polishing and falling off.  Afraid of falling off of the copper plates at the moment and consolidated at every step, the copper plates fell off became memories of collection.  After getting used of the rhythm and free from the fear of losing the copper plates, I felt relaxed to walk through and happy to see what was around.