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09.03.16 - Entering the dreamland scarlet curtain|走入夢境的血色帷幕 孫培懋 個展

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走入夢境的血色帷幕 | Entering The Dreamland Scarlet Curtain

Art Central Hong Kong孫培懋 個展

 

伊日藝術 孫培懋 個展

Art Central Hong Kong| R12展位

中環海濱活動空間 香港中環龍和道9號

2016/3/22 貴賓預展

2016/3/23-3/26 公眾展期

 

撰文: 夏蒂蒂

「電影其實是從繪畫衍生出來的…一張照片可以很有力量,一部電影可能威力無窮,你在電影中創造的世界可能是難以想像的。」 —David Lynch《大衛林區談創意》

他常夢見自己在一個神秘的紅色房間,裡面總是有一個怪異的侏儒,說著聽不懂的語言,他看著侏儒跳著奇怪的舞…

草叢裡有一只耳朵,上面爬滿焦躁不安的螞蟻,故事從這只殘耳進入,竊聽、偷窺、虐殺,迷走在異時空裡回不了頭…

關於大衛林區的電影,永遠像一團迷霧,漂浮著,纏繞著,然後不知不覺被他牽引到百慕達三角洲。一個又一個欲言又止的秘密,一樁又一樁意想不到的事件,似乎透過蟲洞相互串聯,在潛意識、夢境、慾望、真實之間來回穿梭。華麗卻詭異,驚悚又壓抑,再再挑戰我們的感官和道德極限,說真的,你很難為他的居心下一個合理的解釋。

歡迎回到案發現場

Welcome back to the scene

大衛林區的影像構圖極為表現主義,他認為,電影是移動的繪畫,充滿著各種元素的弦外之音。在藝術家孫培懋的作品中,我們找到了一種「類電影」的戲劇緊張感。他的主題總是描繪成人世界光怪陸離的社會事件,比如醫病關係、羅生門車禍、送行者悲歌、皮相獵影、比永恆多一天…一幅幅宛如電影劇照的截圖,停格在事件發生當下的時空,彷彿按了PLAY鍵之後,故事將繼續往下走,既虛構又擬真。畫面中那一面有如屏風的帷幕,像是隱喻或者劇情的補述,想像空間無限大,故事永遠沒有THE END的一天。

用色彩築起的沙丘魔堡

Sandcastle built through color

大衛林區喜歡用濃重、綺麗的色彩和神秘的光影,鋪陳影片中的詭譎氛圍和狂躁的偏執感。孫培懋則是因天生的色彩感知與常人不同,視網膜無法辨識一般人看到的中間色相,因此他用最飽和原始的顏色來構築自己的繪畫世界。在Y100、M100的純紅,以及高反差色彩的揮灑中,找到自己創作的存在感。作品瀰漫著一股奇詭的華麗,頗有好萊塢電影的黑色(noir)美學。

充滿象徵符碼的懸疑感

Suspenseful symbolism

晚間事故現場。一隻猛虎。一隻橫躺路邊的狗。做筆錄的警察。驚嚇的路人甲乙。制伏老虎的丙丁。費解的關鍵人。從屏風裡蹦出來的男子….全都不可思議地聚攏在此異次元時空,與地坪上的古典拼貼花磚有著奇妙的違和感,這是畫家第一人稱的慾望投射?是記憶的殘影?還是罪惡感的反噬?在孫培懋的異質世界裡,存在著一些怪異且不合常理的空間元素,挑戰著想像的蒙太奇。我們跟著他的影像文本淡進、淡出、橫搖、推拉…飛越超現實夢境,一種宛如參加神秘教會組織的莫名興奮感,等著接受鞭撻、洗滌、施咒,然後一一解碼他的符號而得到重生的喜悅……歡迎回到案發現場。

Entering the dreamland scarlet curtain

YIRI ARTS Sun Pei-mao Solo Exhibition at Art Central Hong Kong

“Movies are born from drawings… a photograph can be powerful, a movie can be limitless – you can create unimaginable worlds in film.” –David Lynch

In his dreams, he’s accompanied by a strange dwarf in a mysterious red room, who speaks an unintelligible language and dances quite oddly…

Agitated ants crawl all over a single ear in the underbrush, and it is here that our story begins – with eavesdropping, peeping, murdering, and wandering in an extradimensional space with no way back…

David Lynch’s films are like eternal fog, floating around and intertwining with everything before dragging unsuspecting viewers into the Bermuda Triangle. Hesitant secrets and a series of unexpected events are linked as if by wormhole, in the subconscious, in dreams, in desire, and in the real world. Gorgeous, yet strange; suspenseful, yet suppressed. He challenges the limits of our senses and moral boundaries, and to be honest, it’s difficult to come up with reasonable explanations.

Welcome back to the scene

Lynch’s visual composition is heavy on expression; he sees movies as moving portraits, filled with countless elements and overtones, and in artist Sun Pei-mao’s works, we find a similar type of movie-like tension and drama. Sun’s themes revolve around the more bizarre incidents in society – the doctor-patient relationship, Rashomon car accidents, elegies for the departed… scenes that feel like movie snapshots, frozen in time, ready to continue as soon as you press “play”, simultaneously fictional yet realistic. Curtains act as screens in each scene, serving as metaphors or supplemental storytelling, expanding space for imagination, so the story continues forever.

Sandcastle built through color

Lynch favors a style using gorgeous, heavy colors in tandem with mysterious shadows to arrange a forbidding atmosphere and manic sense of paranoia. Sun was born with retina unable to distinguish between intermediary hues, creating a different perception of color and leading him to work with saturated primary colors to construct his drawings. In Y100, pure red M100, and the dance of sharply contrasting colors, he finds a sense of artistic belonging, and there is a peculiar splendor to his works, evocative of Hollywood film noir aesthetic.

Suspenseful symbolism

The scene at a nighttime incident. A fierce tiger. A dog lying by the road. A police officer taking notes. Frightened passers-bye. Tiger tamers. Incomprehensible key figures. A man emerging from behind a screen… all are gathered remarkably in this extradimensional space, creating an oddly violating contrast with classical tile collage – is it a first-person projection of the artist’s desires? Memory’s afterimage? Or a gnawing sense of guilt? In Sun’s heterogeneous world, an imagined montage is created to fill this strange and illogical place. We fade in and out with his text and images, flying over surreal dreamlands, feeling the inexplicable excitement from participating in a mysterious church group, awaiting castigation, washing and spells, followed by joy and rebirth through deciphering his codes one by one… welcome back to the scene.

 

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