My History 我的創作歷史: Work 2005-2006 我的創作

2005—2006
Target of Exploration:
More abstractive elements are added to expand depth and strength of the picture with mixed used of sophisticated and bright colors in the style of Rice Village.
Representative Works:
Thinking: Affinity of Four Realms-The Sight of Night (2006), Extraordinary Splendor: Affinity of Four Realms-The Sight of Night (2006)(Picture Above), Looking: Affinity of Four Realms-The Heart of Land (2006), and Spring Arrival: Affinity of Four Realms-The Sight of Night (2006).
I always develop a strong passion for the natural landscape. Any fantastic scenery catching my eyes when I am out sketching or traveling, the palpitation of my heart simply reechoes that seems never to stop and later returning to my studio an irremediable impulse and desire for creation. After experiencing the exploration through Rice Village, I develop the urge to further put “the id” that is most respected in the western art into my works since I firmly believe that a genuine valuable art must possess two special qualities, one is sufficient to reflect the inner world of the author and the other to reflect the meaning of the times; however, they are basically the concepts about art moving in the other direction to the spirits of paintings by Chinese traditional educated artists.
In Series Affinity of Four Realms – The Sight of Night and The Heart of Land, though the true landscapes of the Mother Nature dominate the contents of paintings, more messages about my “id” are conveyed. For example, in the work titled Thinking, through painting the flow and form of water, I try to express my admiration for human affinity that any tiny stream of water may gather into a big ocean without our knowledge. Isn’t it happening the same to human affinity that accumulates to trigger off enormous energy in unpredictable ways? By vehicle of the flashing lightning frequently seen in the west of the States, my comments about life are conveyed in the work titled Extraordinary Splendor that despite of all the changes and unpredictability in life, there are always those colorful moments that make us so exited, and no matter how short they might be, the significance they bring to us is just worthy of our memories for life. The process of creation pays me extremely great fun and I believe that viewers may second my senses about life and value, and my passion for life.
探索目標﹕
在《稻香人家》風格上，加入更多抽象元素，混和使用深沉和鮮豔的顏色，以擴大畫面的深度與力度。
代表作品：
《四境情緣—夜之目: 冥想》、《四境情緣—夜之目: 異彩》(上例圖片)、《四境情緣—地之心: 回眸》、《四境情緣—夜之目: 春日降臨》。
我對於自然景觀始終有著一種強烈的熱愛，每當在外出寫生或旅遊時看到令人眼睛一亮的奇異風景，内心的悸動總是廻盪不已，以至回到畫室後能產生一股不可收拾的創作衝動和欲望。在經過《稻香人家》的探索過程後，我更進一步的要把西方藝術最重視的“自我”放入作品之中，因為我相信真正有價值的藝術必定擁有兩個特質，一是能反映創作者個人的內心世界，二是能反映時代意義。雖然這樣的藝術概念基本上是與中國傳統文人畫的精神是背道而馳的，但卻是激勵我要去突破之處。
在《四境情緣—夜之目、地之心》系列裡，描繪的內容雖以大自然的真實景觀為主，但其中更多的是傳達出我的“自我”。例如在〈冥想〉中，我透過描繪水的流動和型態，來表達我對於人類情感的讚嘆:任何涓涓細水都有可能在無聲無息中集結成汪洋，人的情感不也一樣，可在不可預知的情況下累積出驚人的能量?! 在〈異彩〉中，我透過描寫美國中西部常見的閃電景象，來表達我對人生的看法: 儘管生活中充滿了無數的變化和不可預測，但總有令人深感振奮的精彩時刻，這些精采時刻即使短暫，所帶給我們的意義不也值得回憶一生?! 此階段的創作過程帶給我極大的樂趣，相信觀眾也可從中感受到我的人生觀和對生命的熱愛。