迴渡 To and Fro
一組環形循環的山水裝置，透過碎片化的青綠山水與白描的線條，延展三大收藏中黃向堅《尋親圖》系列的山水空間想像。裝置內的畫作將黃向堅一系列原畫的景致解構為獨立的青綠山水意境，並描繪於大小相異的幾何面塊之中，透過白描的技法延伸面塊外的山水空間。白描技法如古代的木版印刷，以簡練的線條勾勒出山石雲霧的輪廓與造型。通過設色的部分想像白描的意象，作品引導觀者於實景與虛境之間過渡，創造出個人的時空想像。
有別於傳統長卷中線性時空的敘事方式，環形的結構消解了作品的畫首及畫尾，邀請觀者自行定義觀看的起點。裝置中心的月光投影從殘缺到圓滿，再從圓滿歸於殘缺，周而復始，隱喻着尋親歷程中的離散與重逢。當觀看山水和月光的流轉時，觀者隨着身軀或視線的移動亦會被納入其中，成為了時空循環的一部分。
循環，並非意味單調地重複，而是超越時間與空間的往復。
This is a cyclical installation that extends the spatial confines of landscapes captured in Huang Xiangjian’s reunion journeys in the three preeminent collections through the use of segmented blue-and-green and outlined landscapes. Huang’s original landscapes are independently framed inside geometric planes of different sizes and then extended in an outline style beyond the frames. Like woodblock prints from ancient China, mountains, rocks and clouds are shaped and formed in crisp lines. With the coloured scenes igniting imagination for the outlined parts, viewers are guided from the visual to the imagined scenes to make possible their own imagined time and space.
Unlike the lineal narrative of the traditional handscroll, the cyclical structure eliminates the beginning and the end of the work, inviting viewers to decide for themselves where to begin viewing. Progressing cyclically from the new moon to the full and from the full to the new, the moon projected onto the centre metaphorises the incompleteness of separation and the completeness of reunion in relation to the journeys. While experiencing the shifting landscape and the shifting moon, viewers are drawn into and become part of the revolving time and space as they shift their body or eyes accordingly.
To be cyclical is not to be monotonously repetitive, but rather to move to and fro to transcend both time and space.
一組環形循環的山水裝置，透過碎片化的青綠山水與白描的線條，延展三大收藏中黃向堅《尋親圖》系列的山水空間想像。裝置內的畫作將黃向堅一系列原畫的景致解構為獨立的青綠山水意境，並描繪於大小相異的幾何面塊之中，透過白描的技法延伸面塊外的山水空間。白描技法如古代的木版印刷，以簡練的線條勾勒出山石雲霧的輪廓與造型。通過設色的部分想像白描的意象，作品引導觀者於實景與虛境之間過渡，創造出個人的時空想像。
有別於傳統長卷中線性時空的敘事方式，環形的結構消解了作品的畫首及畫尾，邀請觀者自行定義觀看的起點。裝置中心的月光投影從殘缺到圓滿，再從圓滿歸於殘缺，周而復始，隱喻着尋親歷程中的離散與重逢。當觀看山水和月光的流轉時，觀者隨着身軀或視線的移動亦會被納入其中，成為了時空循環的一部分。
循環，並非意味單調地重複，而是超越時間與空間的往復。
This is a cyclical installation that extends the spatial confines of landscapes captured in Huang Xiangjian’s reunion journeys in the three preeminent collections through the use of segmented blue-and-green and outlined landscapes. Huang’s original landscapes are independently framed inside geometric planes of different sizes and then extended in an outline style beyond the frames. Like woodblock prints from ancient China, mountains, rocks and clouds are shaped and formed in crisp lines. With the coloured scenes igniting imagination for the outlined parts, viewers are guided from the visual to the imagined scenes to make possible their own imagined time and space.
Unlike the lineal narrative of the traditional handscroll, the cyclical structure eliminates the beginning and the end of the work, inviting viewers to decide for themselves where to begin viewing. Progressing cyclically from the new moon to the full and from the full to the new, the moon projected onto the centre metaphorises the incompleteness of separation and the completeness of reunion in relation to the journeys. While experiencing the shifting landscape and the shifting moon, viewers are drawn into and become part of the revolving time and space as they shift their body or eyes accordingly.
To be cyclical is not to be monotonously repetitive, but rather to move to and fro to transcend both time and space.
