由本地畫廊Lucie Chang Fine Arts與策展人石冠哲先生共同策畫的「臨界：付斌個展」，將呈現 付斌 2017最新版畫「彼時此地」系列，其靈感來自在香港的數次旅行。
畢業於中央美術學院，年輕版畫藝術家 付斌 憑著突破性的創作思維和學院派的功架，結合了木刻和繪畫，以獨特的「木板綜合材料」創作出當代版畫，為版畫的藝術語言賦予新的意義，新的挑戰。打破了傳統版畫的框架，付斌用刀刻出來的版畫是無羈絆的創造力。「彼時此地」系列作品取材於香港的城市建築，並著眼於結構和線條。此系列呈現出都市人熟悉卻曾無睹的景色，從刻劃的力度反映出付斌對建築美學的敏銳度，及記憶中的寂靜、平實與哀愁。
透過策展人 石冠哲 與 付斌 的對話，二人不僅從訪談中展現了藝術造詣，更讓我們對藝術家緊扣作品的內心情感有深層次的體會。
What is the iconic view of Hong Kong in tourist’s eyes? Perhaps the picture-postcard image along the Victoria Harbour? Or may be the glamorous night scene from the Peak? To each his own, the scenery tugs at Fu Bing’s heartstrings is coming from the most ordinary streetscape, that one living in Hong Kong must tread yet seldom give a conscious thought upon.
Running from 15 December 2017 to 9 February 2018, Lucie Chang Fine Arts presents to you Fu Bin’s solo exhibition – Liminality. Curated by Mr. Shi Guanzhe, the exhibition introduces the latest works from the Beijing-based artist-professor ‘Once Upon series’. The street scenes were first recorded in photographs during his sojourn in the town and later recreated onto wood print blocks with his experimental renditions.
Flowing with crowds and gleaming with neon boards, the City of Lights in Fu Bin’s representations is familiar yet strange. On the recognisable facet of architecture, he tints with unfamiliarity by the displacement of humans and choice of shades. Fu Bin’s dark palette and grid dissections draw you into a paradox of perceptions of the subjects. The paradoxes, moreover, reach to the brim over the subject’s art form. Leaving the printing process behind, the woodblock becomes a monotype itself daubed with saturated paints and carved with geometric squares. The absence of printing process trespasses the boundaries of art forms and leads to an ambiguous relation between printmaking and sculpture.
Fu Bin’s experimentation stirs up undulating currents of paradox, pushing against the limitations of art forms and subject matter, which onlookers are immediately reminded to contemplate. What is veiled behind the deserted city? How will you define this ambiguous art form? Fu Bin talked about his exhibition with the curator.
策展人：石冠哲 Interviewer: Shi Guanzhe (Shi), the Curator | 藝術家：付斌 Interviewee: Fu Bin (Fu), the Artist
石：首先祝賀你在香港畫廊Lucie Chang Fine Arts舉辦首個個展。我注意到，你當前的藝術創作和早期有一些不同，這種創作面貌是如何形成的？這種面貌和你早期的創作有什麼內在聯繫？
通過研究版畫的歷史，我發現版畫具有非常前衛的基因，它總是跟最先進的複製技術同步發展，與當時的文化需求等有緊密關聯。另一方面，版畫在歷史的每個階段又跟藝術家的需求緊密相關，藝術家根據自身的需要對版畫的技術和材料進行改造。例如Andy Warhol 也用絲網版在不同材料上創作了一批藝術史經典的Pop Art圖像。所以我也試圖要在作品中打破一些版畫規則的限制，根據創作的需要來進行傳統版畫特點的取捨。
First of all, congratulations! Your first solo exhibition would be in Hong Kong at the end of this year. I have noticed that your current artistic creations are different from your earlier ones. What leads to the current creation features and is there any internal connection with your earlier creations?
Thank you! When I was a postgraduate in China Central Academy of Fine Arts, my research direction was “applied research of printmaking”. By studying the history of printmaking, I found that the print carries some genes that are quite avant-garde, for it always develops at the same pace with that of the most advanced replica techniques of the time and also has strong connections with the religions, cultures and politics then. On the other hand, printmaking in each historical phase is closely related to the demands of artists, for they apply and transform the printing techniques as well as materials according to their own needs. For instance, Andy Warhol used screen printing to create classic pop images on different materials, which is of great significance in the history of art. Hence, I try to break some rules in my works and make choices among the characteristics of traditional printmaking according to the need of the work.
Most of my early works are traditional lithographs. At that period I kept my focus on pure creation of printmaking. I intended to engraft the contemporary art upon the unique language of printmaking, and express my reflections on the present life by the most traditional form of art. Although my current works have undergone significant transformations in techniques and expressive subject matters, the core of the creations is still about my thoughts about human and society, culture, environment and people’s living state. Also, my creations have always been developed from the printmaking, as the origin in form.
付： 我認為應該算是廣義上的版畫。因為它具有典型的版畫造型語言和製作方法，以及包含的版畫思維。其實我覺得屬於版畫還是別的什麼並不重要，藝術學科劃分地太清晰的話也會給創作帶來限制。 我把我的作品定義為木板綜合材料（Mixed media on wood board），是介於木刻和架上繪畫之間，結合了這兩種媒介的特點。對比傳統版畫，我的作品只有製版沒有印刷，捨棄了版畫的「複數」，這也就是我在剛才說的「根據創作的需要來進行傳統版畫特點的取捨」，從而直接將版畫的「版」呈現了出來，突出了木刻造型語言的特點和刀痕的豐富肌理。
Do you think this type of creations is still within the definition of printmaking? Compared to the traditional printmaking, what is the breakthrough that you have been pursuing?
For me it is, in a broad sense, because it involves the traditional modeling language and techniques of printmaking, as well as its mindset. In fact I don’t think it matters whether it belongs to printmaking or something else. A definite classification of art subjects might bring limitations to the creation.
I define my works as Mixed Media on Wood Board, combining the characteristics of both woodcut and easel painting. Compared to traditional printmaking, my works only include platemaking instead of printing. Such abandoning the complexity of printmaking is just what I said making “choices among the characteristics of traditional printmaking according to the need of the work,” which helps demonstrate directly of the “print” in “printmaking”, highlighting the characteristics of woodcut modelling language and the rich texture of cutting traces. Emphasizing the uniqueness of the “print” could help the independent identity of printmaking as an art subject stand out.
I have increasingly felt in my curations and my art reviews in recent years that the printmaking is undergoing a contemporary transformation. Such trend is presented especially among young artists, and your works of Mixed Media on Wood Board is exactly a good case of it. From your point of view, what is the driving force behind the transformation?
There are two reasons. One is that printmaking has long been given the cold shoulder in the current art market climate. Also, print creations are restricted by various conditions. Without the support of print workshops, it’s difficult to insist printmaking for a long period of time. On the other hand, the experience of printmaking gives artists a rather rational mindset and techniques, enabling them to change different perspectives when facing problems. Both of the reasons help printmakers pay more attentions to the artistic and experimental reflections, expand the dimensions of printmaking based on the core of creation, and turn the prints into a new way of expression, sometimes even a participant medium, instead of just a mode of creation.
Throughout your works, especially the current mixed media on wood board, most of them are depictions of urban architecture. What makes it the focus of your creation?
Urban roads and construction landscape make up typical scenes of modern city life. Images of figures, even the urban sky, could be ignored in this case. Skyscrapers become an epitome, of modern people’s city life and reflect their spiritual state, an ambivalent altitude that one can never escape. Holding such inner feeling of isolation and indifference is what I want to express the most in this series of works. For me urban architecture is the best medium to convey this emotional experience.
How did the series displayed in this Hong Kong exhibition take shape? How did you select these city landscapes?
The materials of this series of works came from my several trips in Hong Kong. I found that Hong Kong managed to meet all my imaginations of a “super city”, which fully exploits the vertical space, a crammed city full of skyscrapers. Highly developed urban space is contrasted with shabby and abandoned urban corners. Such contrast intensifies the sense of alienation of those who live in the city, which brings out a strong impulse to create. So I picked up my camera and went into the crowds throughout the city to search for materials. There are two criteria when I chose the scenes: one is whether the atmosphere carried by the environment itself contains the characteristics that fit my creations. Hence, all the environments are intercepted. Seemed to be trivial corners throughout the city, they are enough to express my emotional appeals in these works. The second criterion is whether the environment is suitable in the final presentation. I mean that the outlines of construction structure and the composition of the picture which takes shape spontaneously need to have a unique sense of ritual, meeting the basic aesthetic requirements of an artistic creation. Only meeting these two criteria would it be taken into consideration of my further creations.
Do you have any plan for your future creation?
So far my creations have been a continuous process, though they have different emphasis in different period of time. The core of such continuity lies in the exploration of more possibilities of the development of printmaking language. Although I turned from traditional printmaking on paper to the field of mixed media on wood board, I never abandon the former one, and still keep creating in traditional way. I also try to carry through experimental creation by traditional means. In the future I hope the works could better tally with my personal experience. I would keep exploring new materials and means of expression, not confined to make concrete and flat works. I expect a step forward on basis of current printmaking language and features.
公眾展覽 Public Exhibition : 16th December – 9th Feburary 2018
展覽地點 Venue : Lucie Chang Fine Arts
地址 Address : 香港上環太平山街26號