羅迪尼.狄克森:給茱麗葉的畫 Rodney Dickson: Paintings For Juliet

展覽時間 Duration:2017 年 5 月 27 號 ( 六 / Sat. )  至 2017 年 7 月 9 日 (  日 / Sun. )

開幕茶會 Opening Reception:2017 年 5 月 27 號 ( 六 / Sat. ) 15:00

藝術家 Artist:北愛爾蘭 (N.Ireland) - 羅迪尼‧狄克森 Rodney Dickson

地點 Venue:台北市中正區金山南路一段67巷5號1樓 No. 5, Lane 67, Section 1, Jinshan South Rd, Zhongzheng District, Taipei

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關於展覽

反覆堆疊刮除大面積顏料的油彩繪畫,已經成為北愛爾蘭藝術家羅迪尼・狄克森(Rodney Dickson)的個人標誌。事實上,在全然轉變為純抽象繪畫之前,狄克森以其深究戰爭遺留創傷的偶發藝術作品(Happening Art)及具象繪畫為人熟知,這確實與藝術家的成長背景脫離不了關係,更有藝評直接地將他的層層油彩與戰場上的連天峰火畫上等號。狄克森創作生涯行走至今,幼時經歷的衝突與暴力早已收斂鋒刃,也在橫越大陸的展覽與駐村基礎之上,逐漸累積袪除地域性限制的批判式觀點。

對當代藝術家而言,創作形式本不再是分類與限縮的唯一準則。當格林伯格(Clement Greenberg)為提倡抽象表現主義(Abstract Expressionism)而宣布藝術作品視覺價值的核心地位,甚至進而剃除、譴責其與歷史或政治等文學性的關聯時,不由得想起狄克森漸趨純粹、直搗繪畫核心的創作方式。然而,細究抽象表現主義真正興起的時代背景,絕非是將藝術駛離政治性的逃脫秘徑,甚至無法自在地將兩者輕易劃分開來,又或簡言之,一件作品的意義詮釋受到創作者或觀者所存在的環境與所擁有的經驗不同所影響,而使作品立場能夠被加以強調或進而扭轉。

因此,若單純視狄克森的抽象繪畫為藝術家的情感延續,或許過於著重討論其創作當下的表層狀態。出生北愛爾蘭的他,於歐洲文化之都利物浦攻讀藝術創作,參與MoMA PS1駐村計畫後不久移居紐約,集結西方當代藝術精華之餘,狄克森更擅長透過宏觀視野觀看個體生命經歷,藉著繪畫照映人的各種狀態,也不因幼時的成長歷程而陷於戰爭之地的自我憐憫、迷失在民族情結的胡同裡,反積極踏出西方為尊的解讀視角,試圖在其中尋求一種救贖式的共鳴。

狄克森的創作媒材涵蓋繪畫、裝置與錄像等多種途徑,其中最具指標性與代表性的即是油彩抽象繪畫,也是此次展覽的重點作品。早期主要創作於大面積木製畫板,近年則挑戰在小尺幅畫板上呈現完整概念而不顯得破碎。他的作品匯集源自東西方的文化脈絡和語境,內容上我們看見自個體經驗與集體記憶抽絲剝繭而出的思想意圖;視覺上我們看見傳承荷蘭畫家卡雷爾.阿佩爾(Karel Appel)盡情宣洩的飽滿色澤、米爾頓.雷斯尼克(Milton Resnick)彷若熔岩的細緻肌理,以及尤金.雷魯瓦(Eugène Leroy)厚實洗鍊的油彩交織;技法上不斷解析與剃除的過程,則是讓人聯想起東方溯源、探究「內部」的哲思。

About the exhibition

Layers of oil pigments piling on large-scale boards has become a personal symbol of N. Ireland artist Rodney Dickson. In fact, Dickson was famous for his figurative paintings and happening artworks which deeply probed into the traumas of wars before the conversion into pure abstract ones. This could be linked to the artist’s family background, likening the use of oil to the misery and the devastation on the battlefields. However, the conflict and the violence that he experienced in childhood has abated so that he gradually developed a critical viewpoint rising above the regional limitations through the accumulation of cross-continental experiences of exhibition and arts-in-residence programs.

For contemporary artists, the medium is no longer the only criterion for classification and limitation. It always brings to mind Dickson’s pure abstract paintings when it comes to Clement Greenberg’s advocacy of the visual value of the artistic works rather than its literary or historical connection with politics and societies. However, the origin of Abstract Expressionism is by no means the escape way from political issues, and we could not distinguish them from each other easily at the same time; briefly speaking, the interpretation of an artwork is influenced by varied environments in which the creators and viewers exist as well as different experiences that we have undergone, which allows the meanings of the artworks open to reemphasis or transformation.

Therefore, if we simply see Dickson’s abstract paintings as his emotional continuation, his state of creating process is highly accentuated. Born in N. Ireland and studying in Liverpool, the capital of the European culture, Dickson moved to New York straight after participating in the MoMA PS1 program. The artist is good at depicting individual life experiences from a macroscopic aspect and reflecting the conditions of human beings through his paintings. Dickson was not caught in self-compassion caused by his war-torn childhood or lost in national complex; instead, he tried to break the normal perspective of Western-centric interpretation and look for a redemption resonating with divergent meanings.

Dickson creates paintings, installations, and video arts. Abstract oil painting is one of the most significant and representative genres therein. In his early years, the artist mainly painted on large-scale wooden boards in contrast to small size ones recently. His works converge cultural contexts from both the Eastern and Western world, and the struggle from the individual experience and collective memory. In Dickson’s works, we could discover the fullness of colors the Dutch artist Karel Appel displayed, the lava-like texture flowing on its surface as Milton Resnick’s characteristics, and the thick intertwined oil strokes of Eugène Leroy’s. From a technical perspective, the way he continuously built up and shaved oil pigments also reminds us of the philosophy that explores our “inner nature” in the Eastern culture.