【境外之線 - 麥翠影的當代水墨創作】

境 外 之 線 - 麥翠影的當代水墨創作
LINES and BEYOND - Contemporary Ink by Winnie MAK

展覽時間 : 2014年08月02日~2014年09月13日
開幕茶會 : 2014年08月02日 星期六 下午三點

果園 Orchard (2013) 47hx47w cm

文 / 陶文岳 (藝評家)

近幾年來，當代水墨突然備受兩岸藝壇和藝術市場重視，成為創作的熱門現象。最大原因當然是中國大陸改革開放後，30餘年來經濟快速成長帶動了文化與藝術發展，作為國粹的水墨類別當然備受大眾矚目。另一方面中國當代藝術市場的繪畫領域已被炒作到高點，相形之下，當代水墨還有很大的成長空間。撇開人為炒作因素，事實上當代水墨創作一直在持續進行著，許多藝術家不停地在突破傳統表現，汲取了西方藝術觀念和不同技法的表現，隨著21世紀多元藝術發展的到來，當代水墨重新融會新意而蓄勢待發，而香港女性藝術家麥翠影的當代水墨創作，正是處在這個著眼點上令人印象深刻。

線條對東西方藝術家而言，總是充滿了創作上的魔力。舉凡繪畫基礎的線條數字符號書寫、物體輪廓外型描繪、或是精準細膩的繪畫創造，到自由形象表現……等，都少不了它的存在。在中國書法領域中特別是狂草的書寫線條表現，浸淫於冥想空間中遊走，和書寫者心靈的互動感應，更是將其淋漓盡致地展現和發揮。麥翠影的創作其實很純粹，她以一支柔細的小筆畫出單純的花或植物輪廓細線，這些造型線條在畫面中無限擴張的蔓延，有趣的是當我們遠觀時，自動形成纖細繁複的抽象視覺印記的畫面。 

這些植物元素等同白描線條皴法，也像細胞的分裂成長，由一而二，由二而四的延伸……，在微觀中帶有生命成長軌跡。當這種生存節奏無限的加大時，產生了集體宏觀的共鳴力量。傳統水墨強調的留白空間不適用於麥翠影所創造的畫面空間中，就像她喜歡營造熱鬧喧嘩的氛圍，在她的自宅家園的陽台和天台，種植著大大小小200餘盆花草植物，種類繁多不勝枚舉，像玫瑰、海棠、桂花、蘭花、刺桐、銀杏、杜鵑花、紫藤……，還有球莖類的鈴蘭、仙人掌、玉葉…..等，每一種都具備獨特的樣態，合聚起來觀看又繽紛錦簇。但是在這些繁雜的區域範圍中，就像社會多元結構與秩序的象徵現象，隱含著自然界生生不息躍動的生命力。

麥翠影說：「當我創作時，腦海裡沒有畫稿的存在，畫紙的空白處皆是我創作的領域。創作隨心而起，許多感覺應運而生，一路發展下來，那是結合成長的意念。不管是山與水的自然景觀，皆幻化成為生活體驗。我希望創造的線條充滿在空氣的迴盪空間中，自由不拘束地穿梭於其間，我捕捉的就是這種心靈感動和震盪的軌跡。」種植這些龐雜的花草植物，每日需要細心與耐心的澆水、耙土和施肥，她珍惜當下每日細心呵護著植物，而枯萎時，也在內心深處暗暗傷心流淚。這種同理心同樣運用在她所接觸的人、事、地、物身上，冀希讓身邊好友們也能感受這份親切溫柔的關懷。對她而言，創作也是如此，必須慢工出細活，一點都不能馬虎，希望藉由觀賞作品，引領觀者進入一個愉悅抒懷的境界。

麥翠影喜歡西方藝術家中的畢卡索 ( Pablo Ruiz Picasso，1881~ 1973 ) 和米羅 ( Joan Miró，1893 ~  1983 )，因為他們的創作形式變化多樣，不單僅是平面的表現，還有許多立體的創作。另外查克‧克洛斯 ( Chuck Close，1940 ~ ) 以不同的造型、方式和媒介，畫同一様的主題，也是令她激賞的藝術家，這些藝術家前輩都是她創作學習過程吸收的榜樣。

麥翠影認為「當前海峽兩岸的當代水墨創作領域，大陸藝術家的作品不僅多樣且風格多變，例如有仿古更新的嘗試，或結合裝置表現。而台灣的當代水墨具備了更強烈的傳統意識和技巧。」

對她而言，她不隨波逐流，堅持自己的創作表現，一步一腳印地描繪下去，其實她希望就像自然界的植物成長生態樣貌，吸收了充足的陽光雨水，自然而然的成長茁壯。自己規劃的人生不就是在這些努力的過程中，逐漸的顯現清晰的樣貌輪廓來，而藝術創作在不知不覺間，自然的水到渠成。

In recent years, contemporary Chinese ink painting has drawn the attention of the Chinese arts communities and the Asian art market becoming a visual art phenomenon. It can be attributed to China’s quantum leap in economic reform that has taken place over the last thirty years and impacted in no uncertain terms on the development of the culture and art industry. As one of the national treasures, Chinese ink painting should be regarded as being of great importance. Apart from market profiteering and manipulation, there is still a great prospect for contemporary Chinese ink painting, and that the development of the art form is an on-going process. Many creative ideas and techniques from the West have been integrated into the art to challenge the boundaries of the conventional mode of creativity. The advent of pluralistic art in the 21st century has given contemporary Chinese ink painting the impetus for renewal. Happily at this juncture, the contemporary ink work of this female Hong Kong artist, Winnie MAK impressively displays this new energy.      

For artists from both the East and West line have always played a magical part in their artwork. From the basic graphic depiction of numerals and symbols, to outlining the profile of certain objects, and the most delineated and creative depictions. The association of this imagery rendering all these techniques is not possible without the existence of line. It is an essential part of Chinese running-style calligraphy and leads us into a meditation that enables us to perceive a mental interaction with the artist. Winnie MAK’s intricate ink lines exemplify both purity and clarity at their best. By employing a small bamboo brush, she has drawn the lines of flowers and other plants. These lines stretch themselves throughout the Chinese paper and, as we see them at a distance, they will automatically intertwine and represent a complex, yet abstract visual imagery.

The technique of converting line structure into textural treatment is also employed on the plant images of her work like the multiplication of organic cells, they grow and sub-divide themselves along the microscopic path of life. When the biorhythms ceaselessly multiply, they will integrate and become a spectacular collective resonance. The spirit of leaving blank spots in traditional Chinese ink painting might not be applicable to Winnie MAK’s composition and arrangement of pictorial space; preferring to fill her artwork with a vivid aura. On the balcony and rooftop of her house over 200 potted plants are raised. There are roses, Chinese flowering crab apples, sweet olives, orchids, coral trees, ginkgo, azalea, wisteria, or bulb plants such as lily of the valley, Buddha’s lamp, cactus and many others. Although every plant has its own individual form when put together, they are transformed into a collective and harmonious entity. It is just like the symbol of a pluralistic environment imbued with the vitality of the natural world.

As Winnie MAK puts it “whenever I start a work, I do not begin with a sketch in my mind. Every point on the blank paper is the arena for my creative process. My picture motifs will evolve in my mind and keep up with my feelings. As I proceed, the bits and pieces become a natural developmental process and an integration of growth coming together. No matter it be a landscape of mountain and pattern of streams and rivers, I will incorporate them into my real life experience. By the lines I have created in the resonant space, I wish I could freely travel within the dream I have been trying to create is these heartfelt moments of the pattern of life. ”

Growing the diverse species of flowers and plants requires daily watering, weeding and fertilizing; Winnie cherishes every moment of taking care of these plants and when they wither, it quietly brings tears to her eyes. She pays such warmth and sympathy to everyone, everything and every place she encounters with the hope that friends around her will also receive generous and tender care. To her the creative process works in the same way, it requires patience and attentiveness; and a non-compromising spirit. She always wants to bring the audience into the peaceful and pleasant world with her ink art. 

Winnie MAK admires the work of Western maestros, such as Pablo Ruiz Picasso (1881-1973), Joan Miró (1893-1983) for the diversity in their creative forms. Their works are not restricted to two-dimensional rendering as many of their artworks are in three dimensions. Also Chuck Close (1881-1973) who consistently worked on the same subject with varying styles, methods and mediums has also fascinated her. These artists are the role models and mentors for Winnie MAK in her creative development.

Winnie considers the artists in contemporary Chinese ink painting from Mainland China to be very versatile in style. For instance, some artists try to bring retrospection and innovation to traditions of the past and some artists incorporate installation art into their presentation. In the meantime the contemporary Chinese ink painting artists in Taiwan have discovered a deep consciousness of culture and skill from their predecessors.

Having never been a conformist, she perseveres in her creative footprints, and moves forward step by step. Modeling after the plants in the natural world, Winnie MAK also hopes that she can establish herself by the nurturing of the sun and the rain. The way of our developmental path will be illustrated afar as we move ahead vigorously from what have been planted in our minds. Her art is unintentional but cultivated and comes into fruition by the hands of Mother Nature.