水火之歌
A Song of Water & Fire

劉國松的水拓畫

vs.

薛松的焚燒拼貼


水和火於畫面上產生之自然效果,妙不可言,古今皆有人鑽研,但流傳不遠,實乃水火掌控不易。

劉國松致力「革筆的命」,七○年代鑽研水拓法,即滴墨、油入水,再以紙吸附其瞬間產生之天然紋路,順勢加工,據以發揮,開創出前無古人之風格。

薛松則將焚燒殘片拼貼於畫布,火燒殘片和重繪之畫面,為破壞與再生、解構與建構循環,影像內容既互相對應,又產生全新意象,薛松建立史無前之語彙。

挑戰材質,劉國松與薛松水火不避,終於各闢蹊徑,譜出藝壇水火之歌。


 

LIU KUO-SUNG‘s Water-Rubbing

VS.

XUE SONG‘s Burnt Collage

Painting with water and fire, in both historical and modern times, is a challenge in media. The founder of the Fifth’s Moon Painting Group, Liu Kuo-sung, who advocated “revolution against the brush,” began experimenting with the technique of “Water-Rubbing” since the 1970s. Liu’s pioneered technique involves dripping ink into water, then adding turpentine to manipulate the flow of the ink in the water, and finally placing paper onto the water’s surface to capture a “rubbing” of the ink’s pattern.

The origin of Xue Song’s brunt collage is quite dramatic. Having had two fires break out in his studio in the 90s, a distressed Xue found inspiration from ashes left by the destruction. The nature of fire is to consume and destroy, fueling both fear and a strange satisfaction. Xue’s burnt images are branded with a new visuality, and also given new meaning through rearrangement as collages pieces on the canvas. In turn, the process of destruction and reconstruction, and symbolic death and rebirth, creates a new artistic vocabulary.


2018 水墨現場 INK NOW Taipei

展覽時間 Dates:2019.01.19 (週六 Sat.) – 01.21 (週一 Mon.)
展會地點 Venue :花博公園爭艷館A4展位 – 台北市中山區玉門街一號  Booth A4, Expo Dome, Taipei Expo Park – No. 1, Yumen St., Zhongshan Dist., Taipei.