Painting Through Drawing

Painting Through Drawing| 莫妮卡.蘇畢迭個展 Mònica Subidé Solo Exhibition

Mònica Subidé個展Painting Through Drawing以紙本作品展現近年來對藝術家身分之於生命意義的回望。敘述在創作時拋開意識及方法,以達到無法克制而全然投入情感的狀態進行創作。並以對她而言有十分強烈連結的媒材,紙作為創作的載體,探索私密而直接的信念及情感,在混亂的思緒中藉紙本創作,踏上尋覓的路徑。

Mònica Subidé (b.1974, Barcelona, Spain) 擅長輕巧使用多種媒材,包含顏料、鉛筆、及拼貼。 作品畫面虛幻而平靜,從她柔和的調色到不完整的線條及立體主義般的陰影描繪方法,讓人聯想到藝術家Egon Schiele、Ernst Kirchner 和 Pablo Picasso 富有表現藝術豐富的色塊與筆觸的作品。

YIRI ARTS is pleased to present “Painting Through Drawing,” a solo exhibition focussing on a new body of work on paper by Mònica Subidé. In her recent work, Mònica continues to employ her unique and intimate visual languages while re-examining the relationship between painting, drawing, and the identity as a painter. Here, Mònica positions herself away from a conventional working method. She developed a novel and personal approach, depicting those around her with daringly honest, forthright, and empathetic warmth throughout her practice. Seeing paper as a vessel creates the most direct insight and emotional force. For her, drawing builds a path embedded with the narrative that leads to her paintings.

Mònica Subidé (b.1974, Barcelona, Spain) working with a variety of mediums and grounds—oil paint, pencil, canvas, paper, and sometimes minimal collaged motifs. The quality of her dreamlike work, both illusory and placid, ranging from her muted colour palettes to her unfinished lines and quasi-cubist approach to shading, precise in style, nonetheless conjures the elements of old master paintings, such as those by Egon Schiele, Ernst Kirchner, and Pablo Picasso.

Histles in front of the sea |2022|50x70cm|pastel, oil pastel and pencil on paper

Artist Statement

我並不想討論內容及形式。

這兩年來,我一直試圖在創作本質的層面上尋找一種獨特的繪畫方式。在創作時我使自己跳脫意識,以完全自由而不被任何框架與意念束縛的狀態去創作,刻意的漠視描繪的物件或對象及所使用的工具,捨去任何與帶有藝術家標籤的連結,以淡化與藝術家的連結,真正表現當下最為直接甚至是一種不由自主而必須創作的狀態。

《畢卡索之謎》這部電影向我傳達了一個清楚的信念,一個錯誤從不存在的信念。使我了解無論在紙本或畫部作品都是,一切都是過程,而這個信念一直以來都是我所有創作的重要礎。

在過去幾年我持續的藉由創作的過程回答我紙本及畫布作品讓我感到滿足的原因。為避免機械式的創作模式,我不預先建立一套完整的工作流程,以避免犧牲過程中隨興可展現的空間,進而使情緒被抽乾。

Drawing和painting及痛苦的情緒在我創作時總是齊頭並進的引領著整個過程,而其中痛苦更尤其強烈的驅使著我,透過繪畫創作出真實能觸動我的作品。否則,我不知道還能如何去創作。

而在這樣尋覓地過程中,當我意識到我筆下所畫的正是我在尋找的答案,這樣的痛苦也就會隨之消失。而這也成了我創作的模式,錯誤從不存在的信念以及透過創作尋找答案的思緒,引領著我在創作過程中的探索,以在達到平衡的狀態。

我的繪畫是非常跟從直覺的。如果我們要談論色彩,我必須真正的看到色彩;當我看到色彩,我才能開始創作直到停下來。出於這個原因,創作的思緒及實際描繪出的作品,會猶如碎片逐漸累積成不同的層次。創作上的顏料也持續的塗改著,陪伴我走上一條可以持續數月的旅程,直到我完成工作。
我通常都會將自己置身於自然環境中以描繪花卉,無論是田野中央還是鮮花環繞的工作室裡,光線在墨水與油畫中的表現不同使兩種媒材能詮釋不同的畫面氛圍,這樣的媒材對我而言,就像一片片光的碎片,引領藝術家在黑暗的道路中前進。
紙是我作為畫家生活中不可缺少,而神奇的存在,紙通常是經由手工一張張製作而成的,而這樣的差異,使它們我而言都是極具有生命力的媒材。
每當我在創作需要一個新的出口,紙張就會出現,而這並不是經過我精心規劃而有結果。有些紙本的創作甚至需要數年的沉澱,我才能意識到我當下創作的原因,但無論如何,他們最終總是能在我不經思考的狀態下完整甚至正確的傳達我所想的。
紙作為媒材對我而言不只是喚起工作時的樂趣,更因為不知何故在創作中透漏隱晦的秘密,進而幫助我創作的尋覓過程。

Drawing 為我在Painting的創作中描繪了一條路徑。

工作流程:把手機留在家裡,喝杯咖啡,穿上工作服、脫鞋,坐在沙發上看書。 我發覺得作畫時有打開的書陪伴著我能啟發我的靈感。

I don’t want to talk about what or how.

These last two years I have been working fundamentally on finding a unique way to paint. How to be free to paint what I had to paint, what I could not help but paint beyond my conscious will. To leave the object, the form, the palette, the surface that identifies the painter and to dilute identity in the whole.

“Le Mystère Picasso” revealed to me a clear intuition, a conviction of the non-existence of error. In painting or drawings everything is a process, this conviction has been and is the main basis of all my painting.

The latest years of my work insisted on answering the question of what about painting satisfied me. To avoid a mechanical dynamic, not to pre-establish a working process in which the margin for the spontaneous and the process itself would be completely sacrificed, leaving emotion out.

Painting/ drawings and pain have always gone hand in hand. Pain is actively present in the way I work. I use that pain to demand that I make a painting that moves me. Otherwise, I don’t know how to work.

I intuit that the pain will vanish when I am convinced that what I am painting is what I am looking for. To carry out the search with that clarity and belief in reaching a stage of equilibrium with what I demand of painting.

My painting is intuition. If we talk about color, I must see the color; I see the color, then I paint, then I stop. For this reason, there are pieces that accumulate layers. The paint is altered and accompanies me on a path that can last for months, until I finish the work.

I usually work the floral drawing always from the natural, either in the middle of the field or in the studio surrounded by flowers, the ink paintings reveal in the non-reflection to make them a very different emotion to the oil painting, they are like slivers of light, in the blind path of the painter.

Paper is an indispensable part of my life as a painter, paper is magic, mostly handmade one by one, each piece of paper has in many cases a life of its own.

The paper comes when I need to open a new window in my painting.

It is not something calculated. They become studies. Sometimes it can take years to know why I did them, but they always end up having a very concrete feeling.

They happen not only for the pleasure of working with a material that evokes rest, but also because I know, somehow, that they will reveal intimate secrets that will help me in my pictorial search.

Drawing traces a path in my painting.

Work routine: leave my cell phone at home, have a coffee, put on my work clothes, take off my shoes, sit on the sofa and look at books. I find it inspiring to be accompanied by open books when I am painting. 


Woman with yellow ear|2022|106x78cm|Oil . gouache, pencil and collage on hanemüle paper

Painting Through Drawing| 莫妮卡.蘇畢迭個展 Mònica Subidé Solo Exhibition

展期|2022.08.19–09.03
地點|伊日藝術計劃 1F
地址|台北市內湖區新明路86巷1號
時間|Tue. – Sat. 14:00 – 19:00 週日、一休館

Date | 2022.08.19–09.03
Venue | YIRI ARTS 1F
Open | Tue.—Sat. 14:00—19:00
Closed | Sun.—Mon.
Add. | No. 1, Lane 86, Xinming Road, Neihu District, Taipei City 114030, TAIWAN