• 文/李昆霖 Written by Lee Kuen Lin

憂媺的風與景 Graceful Scenery


被冠上“憂鬱”“美善”的風景環境現象,是不單純的多向性結合而導致的;人為的因素是不用說了;但,身為一位以創作自居的人,必然要意識到,而不能一昧地逃避,必須完全地呈現自己所看、所思、所想。

美麗的風景、裸女、靜物⋯⋯⋯真的值得一位創作者花一輩子的時間去畫它嗎?畫一張、一百張、一萬張⋯⋯⋯它的意義在哪?純為一種美感?是情有獨鍾?是為留住優美的景色、裸女、靜物?所以要拼命製造、生產?

一切的問題是那樣的讓我感到納悶!可能畫一批一系列的作品更是要深思質疑。身為創作者不能沒有自覺,一昧地去做一件反覆沒有生命力可言的作品。徜若沒有自覺到,必定會導致扼殺創作的生命及可能性。

美好漂亮的景色、裸女、靜物固然讓人感到喜悅,但,需要那樣多的人製作那樣多的作品來滿足那樣多的人嗎?可能這答案是肯定的?也可能是否定的?更可能是無解的? 如此的虛無狀態更是值得我們的深思。

The phenomena of the scenery, specifically their "melancholy" and "beauty", are created from a combination of sources. Although there is an artificial factor in landscape painting, creators must be conscious, and can never escape, the fact we must present what we see and think completely.

Beautiful landscapes, naked women and still lives... Are they worth a creator’s lifetime to draw? Whether one is drawn, one hundred or even ten thousand... Why would the creator do this? Is it only for the aesthetic feeling, to create a soft spot or retaining the beauty in landscapes, nudity of women and still lives?

All these questions baffle me! Painting a large series of work requires intense contemplation because a creator should be conscious and avoid making lifeless work. If we do, we can circumvent strangling the possibilities of creation.

The phenomena of scenery makes people feel happy, but do we need so many people to produce so many works to satisfy so many people? The answer may be yes, no or there is no solution. Such a hollow question is worth deeper consideration.

#1993 #1993exhibition #hiswriting

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