Ink Asia 2018

That’s it《沒有意義》

TAO Hoi Chuen

28 September 2018 – 2 October 2018 

Hong Kong Convention and Exhibition Centre

a.m. space is proud to present TAO Hoi Chuen’s solo exhibition, That’s it, at Ink Asia 2018.

Tao Hoi Chuen practices contemporary Chinese Ink painting. Using Chinese Ink as a means to discuss the existential significance, functionality of painting and the essence of art. We will present his latest Chinese fine-lined figurative paintings and his award-winning ink installation, Being as it is (2018), a set of 7 paintings depicting various unconscious figures.The painter approaches the essence of existence by revolting against the idea of meaningfulness. Eradicating the traditional approach of semiotics, the painter emphasises on intuition and the presence the object.

a.m. space 在「水墨藝博 2018」呈現杜海銓個展《沒有意義》。
杜海銓探討作品的存在意義,思考關於繪畫功能,藝術本質等問題。本展覽將展示畫家得獎作品,一組七件水墨裝置《如是存在》,以及最新的人物工筆畫。畫家描繪人物睡眠的姿態,透過觀察人的無意識狀態,反抗流於表面的「意義」,單純地呈現並探尋存在的本質。

杜海銓 TAO Hoi Chuen, Jacky
只為綻放而綻放 White Camellia
水墨設色紙本 Chinese Ink and Colour on paper
33 x 50 cm
2018

To continue questioning about the meaning of creation, is to question about the function of paints, the nature of art. By time goes I gradually realised that, most meanings are endowed by people; for example, we believe that art will change the world, because we need art continue generating for certain reason, we want to look for the ultimate essence of art, to provide motivation for working on art But art can be meaningless, thus meaningless can also be meaning of art.
Therefore, the main axis of Tao’s works is to delete the meaning. For example, the sleep, which is the most static state of human being except for the death, is presenting human being as it is; the painted texture of paper on paper is returning to the material nature of paper. During the long process of painting, this Sisyphus-way is constantly questioning the meaning of the existence of art work.
Perhaps , the only meaning painting needs is meaningless.

Artist statement for the exhibition That’s it , Tao Hoi Chuen, 2018
杜海銓 TAO Hoi Chuen, Jacky
理性的鄉愁 The Nostalgia of rationality
水墨設色紙本 Chinese Ink and Colour on paper
93 x 104 cm
2018

對創作的意義繼續追問下去,是關於繪畫功能,藝術本質等問題。後來我慢慢發現大部分意義都是人為賦予的,例如深信藝術可以改變世界是因為我們需要讓藝術繼續合理地發生,我們要通過尋找藝術的終極本質來充實繼續做作品的原因。創作本身可以是沒有意義的,那麼沒有意義也可以成為作品存在的唯一意義。
因此,對意義的刪減成為杜氏創作的主軸。例如睡覺行為是死亡以外,人最靜止的狀態,就是要把人存在的事實如其所是的單純呈現;在宣紙上畫出紙的紋理是為了回到紙為物本身。在緩慢的繪畫過程中,這是一個「薛西弗斯式」的方法,不斷詢問作品的存在意義。在畫紙上畫多少條相同的線都會有畫完一整幅畫的時候,但真正重覆而沒有意義的,可能是不斷創作的行為本身。
繪畫或許只需要一種意義,就是沒有意義。

杜海銓個展《沒有意義》藝術家自白, 2018
杜海銓 TAO Hoi Chuen, Jacky
Jones and Smith
水墨設色紙本 Chinese Ink and Colour on paper40 x 47 cm
2018


About the artist
Tao Hoi Chuen, Jacky was born in Hong Kong in 1996. He graduated from the Fine Arts department of The Chinese University of Hong Kong in 2018. He has spent his life in Beijing, Taiwan. His artworks are exhibited in Hong Kong and Taiwan, including Ink Asia 2017, Art Formosa 2018, and Ink as an Exercise in Contemporary Art II (a.m. space, 2018). Tao expresses himself through drawing, calligraphy, photography and installation. He is most skilled at traditional Chinese fine-lined painting. His works reflect his contemplation on existentialism and phenomenology. He thinks the structural line and chiaroscuro presented in Chinese fine-lined paintings help to present the essence of objects. He is awarded Y.S. Hui Fine Arts Award, Chinese Painting and Calligraphy Creative Award and Wucius Wong New Ink Art Award (2017,2018).

關於杜海銓
杜海銓,1996年生於香港,2018年畢業於香港中文大學藝術系。曾居北京、台灣,並於香港與台灣參與展出,包括「水墨藝博2017」﹑「福爾摩沙國際藝術博覽會2018」,以及2018年於a.m. space《墨色作為一種當代藝術的練習II》曾翠薇、杜海銓雙個展。杜氏創作涉獵繪畫、書法、攝影、錄像和裝置等媒介,尤以工筆畫為主,近年作品內容與存在主義和現象學有關,認為工筆畫結構性的造型線條和明暗筆觸等視覺效果的省略有助於呈現事物自身,曾獲獎項包括「許讓成藝術獎」、「中國書畫創作獎」、「王無邪新水墨創作獎」等。

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