畫布中的超現實夢想 | ILLUSORY CANVAS OF DREAMS

有些藝術家擅於利用空間和凝視等概念,讓觀眾產生錯覺:當大家以為現實和畫中的世界是分開時,畫家卻刻意模糊兩個世界的邊界。韓幸霖在安全口畫廊的展覽 《昨日日光》中,透過她一貫的風格,探索繪畫和空間的關係。

Art often plays on the illusion of space and gaze: at first glance, you seem to be looking into another space separated by the painting, but if you look closer, another space emerges beyond the canvas. Hilarie Hon’s exhibition in Gallery Exit, Yesterday Brightness, plays with the idea of gazing and looking while showcasing her personal style of strong and complementary colors in her works.

韓幸霖延續一貫的鮮明風格,以鮮艷的色彩和漫畫意象呈現詭異的超現實世界。全新作品描繪流逝的瞬間,諸如樹木倒下的場景、一個在大雨中行走的人、烈火和煙花盛放的畫面,皆呈現出強烈的疏離感。藝術家將自身的觀察融合超現實想像,邀請觀眾從框外眺望電影情節般的畫中景色。她沒有為畫布中的角色設定身分,人物身處畫的邊緣,既置身畫中又如第三身般抽離。光亦是系列的核心元素,作品以至展示空間形象化地呈現從黃昏到天黑的時間性,如暴雨般的光亮烈火也不時充斥畫面。隨著觀眾深入展覽空間,作品及展廳的光線將會逐漸變暗。

HON continues to employ her signature bold colours and comical imagery to create a nightmarish surreal world. Her new series depicts scenes and fleeting moments that are not meant to last. Similar to a movie-watching experience, surreal spectacles with dramatic light and sky combine elements of reality with imagination, inviting the audience to experience from afar scenes on the canvases, such as a tree about to fall, a man walking in heavy rain, fiercely burning fire and bursting fireworks, all conveying a sense of alienation. The human figures, with their identities not specified, can be seen as either being inside or outside the painting panels. The element of light is also significant in HON’s works and the exhibition setting. It is either portrayed in the paintings as light and fire fiercely burning or appears as light sources outside the canvases, with the level of brightness gradually decreasing as the audience proceed deeper into the exhibition space.

Hilarie HON
Sunlight Murmur 日光絮語
2019-20, acrylic and oil on canvas, 75 x 100 cm

Hilarie HON
Sunlight Murmur II 日光絮語(二)
2019-20, acrylic and oil on canvas, 120 x 140 cm

展覽以總長4米的畫作《海水失焦》揭開序幕,作品以11幅大小不一的畫拼湊而成,場景之間環環相扣,融而為一卻各有故事。部分描繪的場景並不陌生,如置於中央的夕陽、灰暗天空中飛翔的鳥兒、在船上漂浮的人,都曾出現在韓幸霖的舊作中。此作品回應藝術家2018年在安全口畫廊的個展《每日太陽恆常消失》,當時的作品以不同角度描繪同一個場景——畫中的觀眾在電影院的大銀幕上觀看日落場景,與此同時,他們也被現實中的觀眾凝視着。而是次作品則以沙龍方式展現,把同一日落場景的時序同時展開及重新排列。

“Sparkly waters, blurry eyes” is a large-scale work that is four metres in length: eleven panels with different scenes, sizes and perspectives are loosely connected with each other in a grid. Many of the painted scenes look almost identical to Hon’s previous paintings, such as the centrepiece of the sunset and other panels depicting birds flying in the darkening sky or human figures drifting in boats. This work responses to and extends from a series of sunset paintings resembling a film sequence from her 2018 solo “The Daily Disappearance of the Sun” at Gallery EXIT. The series depicts the same scene from different perspectives – cinema audience are watching a scene of the sun gradually setting, meanwhile being watched from the “outside” by the actual exhibition visitors. Whereas this time the order of events is rearranged and displayed at once in salon style.

是次展覽具象化了窗框在繪畫中作為觀看的隱喻,以及展現空間透視的功能。窗框元素融入畫面之中,甚至成為現實空間結構的一部分。藝術家一直探索畫外與畫內空間於繪畫的呈現,以及裝置與現實展示空間的關係。「窗框」為平面空間製造了一個畫面往內深入的設置,從而表現出透視空間的立體感。《室內》中有兩扇可開可關的木門,功能有如真實的窗戶。打開時是一件三屏平面畫作,觀者可以看到畫中的風光。而木門閉合時,作品則被隱藏,同時亦成為畫廊裏的立體裝置。韓幸霖透過思考作品、空間與觀眾的關係,探索其藝術創作在畫廊被觀看及展出的狀態,和畫中世界的關聯。

Hilarie HON has been exploring the boundaries of spatial representation in paintings and their installation in the exhibition space. In visual art, windows often enable a three-dimensional representation of a two-dimensional picture plane, forming a spatial ambiguity between the internal and external space. As part of her key concept, she employs the ideas of gazing and “painting as a window” as a visual art device and metaphor. Window frames are included in many of the painting compositions and they also merge into the setting of the exhibition space. For example, “Indoor” is a painting with foldable wooden panels – with its form and function comparable to an actual window — that allows the painted scenes to be seen or hidden from view. It is a triptych when opened, an installation object when closed, therefore transformable between two-dimensional and three-dimensional forms.

Sparkly Waters, Blurry Eyes II 海水失焦(二)
2019-20, acrylic and oil on canvas, plywood box, 97 x 46 x 20 cm


Hilarie HON 韓幸霖: Yesterday Brightness《昨日日光》

Date: 2020.10.17 – 11.28

Time: Tuesday to Saturday, 11:00 – 18:00

Address: 香港 香港仔 田灣 興和街25號 大生工業大廈3樓

3/F, 25 Hing Wo Street, Tin Wan, Aberdeen, Hong Kong

Photos Courtesy of Gallery EXIT and the Artist

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