Forest Series

Acrylic on canvas

70x100cm、72.5x116.5cm、80x150cm、53x41cm

2016

By consistently ensuring the predominance of his desired tonal palettes, Shiu Sheng-Hung’s art manifests dynamics that are exceptional both in breadth and in conceptual meaning. This visual fluidity allows his paintings to feel unique and to change in depth and appearance each time they are seen, depending on externalities which include the perspectives from which the paintings are seen and the lighting present. At the heart of this versatility lies Shiu’s overarching commentary on the nature of time and memory: the use of pearlescent paint over elements of his paintings have ethereal and transformative effects on his art while remaining crucially symbolic of the relationship between temporality and remembrance in viewers’ minds. 

In his ‘Forest’ series, Shiu remains faithful to these hallmarks of his art. Drawing upon photographs from his travels in Taiwan, he employs a primarily blue colour scheme and, selectively, pearlescent paint to signify the progression of time and the ephemeral essence of memory. These components lend a sense of ambiguity and mystery to the paintings. Shiu views his art as a mode of communication that transcends verbal expression, allowing viewers of the paintings to freely interpret them within the context of their own personal narrative. His paintings are therefore interpretations, and not mere replications, of the photographs which serve as their reference - they encapsulate the fundamental aspects of his art.

 

 

這系列風景圖大多來自我出外踏青或旅行所拍攝的照片,重新再回頭來看這些圖像就像是從現實生活中暫時登出的想像以及體驗。

 

從無到有的繪畫過程以及顯色反白後的抹除,再次成為新的圖像。而我遊走穿梭於其中。

 

從挑選照片到與畫面相處,我將時間過程展現在畫面上。珠光顏料半透明又有點泛黃的特性像是老照片的時間痕跡,然而我對他的想像是以這屬於當代的材料來詮釋繪畫過程與圖像的時間性,他牽引著兩者,不僅是再現老舊泛黃的時間感痕跡,而是他所造成的效果讓觀看繪畫與做畫過程中,筆觸顏料等因素的時間性被強化出來。時差,展現在大尺寸的畫面中。觀者身體移動,隨著筆觸色塊悠遊其中,破碎的、抹除的、散落、隨著筆觸色塊組織圖像。

 

對我來說這系列繪畫的過程是對影像的回憶與想像,進而透過繪畫性去再次製造圖像,製造完畢後在空間中將其裝置展示,然後彼此產生模糊曖昧的敘事性以及觀看的時間性。

森林10|Forest 10.

壓克力顏料、畫布|Acrylic on canvas_70x100cm_2016