羅迪尼・狄克森:畫作

Rodney Dickson: The Paintings

展覽時間 Duration|2019/1/5 - 2019/2/24

開幕暨紀錄片放映及講座 Opening & Film Screening & Artist Talk|2019/1/13 (Sun.) 3:30 P.M.

藝術家將親臨現場 The artist will be present.

地點 Venue|10056 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 Road, Zhongzheng District, Taipei 100

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北愛爾蘭藝術家羅迪尼‧狄克森(Rodney Dickson)的創作多元,包括裝置、錄像、拼貼、表演等等,然而對於藝術家而言,油彩繪畫是他在經歷過所有媒材後,仍舊承認那是他覺得最難達成的媒介。作為一種自我紀錄和生活省視的中介,油彩正像是畫布的皮膚,日日增生,卻也日日褪去,新生與衰頹從藝術家的角度看來是再自然不過,因為時間是變動的,而這樣的變動遠觀來看卻又是一種恆常的穩定,對羅迪尼來說如何將時間凝結在畫布上成為他有興趣的精神上的思考。所謂「增生」我們可以從畫作中厚疊的油彩筆畫中理解,然而這樣的厚疊並不是為做而做,對於藝術家而言,厚疊是因為要回應感受之變動,感受是時間的分體,而人作為感受的主體,卻同時為感受所支配,三者的關係像是一種共同舞蹈,為了維持和諧,只要其中一方做出改變,另外兩方就要隨之反應、配合,從這點看來,厚疊的油彩可以說是藝術家不得不的一種作為,而非單純的技法表現。至於「褪去」,我們可以從狄克森近年在畫作中大量出現的擦刮痕跡中窺知一二。「褪去」作為增生的反面,代表的是藝術家一種自我追求之下永不滿足的焦慮,因為活在當下,所以創作於當下,但這樣的即時性卻同時帶來不確定性,藝術家頻繁地回應生活,卻永遠沒辦法切中生活,因為藝術正如藝術家所言是半瘋狂的,沒有對錯,也沒有起點和終點,其無邊無界驅使人著魔似地向前探究、索求,然而藝術之廣大讓藝術家的靈魂永遠飢餓、永遠挫折,擦刮因此可以說是一種想法上的剝除,同時也是一種想法的精煉和再造。

在這次的展覽《畫作》中,我們可以看見狄克森各時期風格的交相融合、碰撞,一部分的作品仍維持藝術家早期陰鬱而壓迫的表達,滿版的筆觸,不留給畫布任何一點空間,正像是不留給自己任何一絲喘息的機會,這樣的處理手段,不管對於藝術家本身抑或觀者而言,都是一種封閉式的暴力,它不容許任何人閃躲,強烈而直接的詰問,即便埋藏於抽象的筆畫之中,其表達力道依然不減,反而可以說是更為爆破。相對於此,另一部分的畫作我們可以看到白色的加入,白色正如藝術家所言,是一種「光」,是一種激憤過後流淌出的平靜與和平,然而這樣的白色並不完全和黑暗對立,相反地它包含了黑暗、包容了黑暗,因為它是黑暗的產物,因為沒有黑暗就不會有光。光與暗,白與黑,看似完全對立,實則在各個畫作中互相協調、衝突、對話,在此平達成的平衡無關乎比例、色調或構圖,而是想法上的平衡,增生與褪去之間的平衡,自我、時間和感受之中的平衡。

Northern Irish artist Rodney Dickson's diverse creations include installations, videos, collages, performances, etc. However, as an artist, oil painting is still considered the hardest medium to apply after he has utilized all the medias. As an intermediary of self-recording and self-reflection, oil paint is like the skin of a canvas. It grows but at the same time fades away day by day. From Dickson’s perspective, renewal and decline are natural as time is ever-changing, which is a stable status from a far view. For Dickson, how to condense time on the canvas becomes an interesting task. The so-called "renewal" can be understood from the thick oil paintings in the artworks. However, such thick stacks are not made for doing. Thick stacks are made because Dickson wants to respond to the changes in feelings, which is the separation of time. People are the mainstay of feelings, but at the same time they are dominated by feelings. The relationship between the three is like a dance. In order to maintain the harmony, as long as one of them makes a change, the other two must respond and cooperate with each other. It seems that the thick stack of oil paint is an act that artist has to do but not a simple artistic technique. As for "decline," we can have a glimpse of the scratches in the paintings in Dickson’s recent works. Decline, as the opposite of growth, represents artist's anxiety of being unsatisfied under the pursuit of art. As one lives in the present, one creates in the present, but such immediacy brings uncertainty. Artists respond to the uncertainty, but there is no way to respond to it precisely since art is partly mad. As the artist said, there is no right or wrong, neither is there a starting point nor ending point. Its boundlessness drives people to explore, but the vastness of art makes artist starving and frustrated for good. Scratches can therefore be seen as a stripping of ideas and also a refinement and re-creation of ideas.

In this exhibition "Paintings," we can see the integration and collision of Dickson's various styles in different periods. Some of the works maintain gloomy and oppressive alike his early paintings. The full version of the brush strokes does not leave any space for the canvas, which also makes himself and the audience feel oppressed. This treatment is a kind of closed violence, for it does not allow anyone to dodge form the strong and direct questioning. Although it is buried in abstract strokes, its expressive power is not reduced but more blasting. In contrast, we can see the addition of white in another series of artworks. White, as the artist said, is a "light." It is a kind of calm and peace that flows out of anger. However, such white is not completely opposed to darkness. On the contrary, it contains darkness and embraces darkness, for the light is the product of darkness and for there will be no light without darkness. Light and dark, white and black, both of which are seemingly opposite to each other. In fact, they coordinate, collide and converse in each painting. They reach the balance, which has nothing to do with proportion, color or composition but with renewal and decline and the self, time and feelings as well.