Dream [I]/ 夢之一
by Jing Liang/梁靜
80x120cm
oil on canvas 2014
梁靜【甚麼不是藝術!!】當代繪畫個展
(12月1日至12月20日)
美國紐約黃氏藝廊
39-10 Main Street, Suite 303
Flushing, New York 11354
梁靜（1959- ）的作品，乍看時，畫面上有瀰漫的霧氣、絲綢般的幻影、跳躍的水晶因子、綻開的奇異光束、縐褶的緞子，更出現了時而顯性、時而隱性的「掃帚」意象或掃過後的痕跡; 興味地，若細看，有無數的斑剝、荊棘、刮痕、殘斷、消溶、爆裂、亂灑、狂飛、擠壓、鞭打... 等等不預期與驟然性的轉折，擦生出了一種勢不可擋的力量。
德國狂飆（Sturm und Drang）運動的歌德（Goethe）說：「每件事處於黑暗、荒謬、混淆、無法理解。」法國啟蒙時代的盧梭（Rousseau）也有類似的體驗，說：「在洪流、岩石、叢林、山 、陡峭的路，爬上爬下，身邊竟是深淵，使我害怕。」梁靜的油彩之作，就是大自然與銀河系宇宙的變形記，溢滿的思緒、想像力、及強勢魂魄，已將這兩位大文豪的情懷視覺化、浪漫化了。
這也跟英國哲學家艾德蒙‧柏克（Edmund Burke）定義的「崇高」（sublime）美學觀不謀而合，指的是人心中激起的恐懼、刺痛、或危機感，但也知道不會造成生命的危險。梁靜的藝術，看似抽象，但體現的並非幻象，而是現實注入的「人類 無法征服自然」概念，進而產生敬畏，最後，引領觀者攀升到一個美與精神的疆域。
在梁靜的畫布上，飄渺、仙境、美呆的景象奇妙地浮現出來，然而，他怎麼辦到的呢？思考美學或許有陡峭、深淵，或許襲來黑暗、混淆，關鍵的是，他不停息地處在一條震盪的路上。
寫于紐約十一月二十日
B.J. Pang-Chieh Ho （何邦婕）翻譯成英文：
At first glance, Jing Liang’s works seem to evoke many different visual impressions. In his art, you feast your eyes on mists, gentle and diaphanous, shadows soft as silk, crystallized elements pulsating across the paintings, rays of light bursting into bloom, folds of satin sweeping across the surface, and most of all, the image of a broom -- sometimes latent, sometimes more manifest -- tearing across the canvas like a storm. Upon closer study, you see unexpected twists and changes in his brushstrokes – the rushes, the compressions, the lashes, the flakes, the spikes, the scratches, the breaks, the dissolved elements, the sprays – that turn his paintings into a force of nature, compelling and inexorable.
When writing about nature, Johann Wolfgang von Goethe, the great figure of the “Sturm und Drang” movement, spoke of its dark, absurd, chaotic, and incomprehensible qualities. Jean-Jacques Rousseau – himself a figurehead of the age of Enlightenment -- echoes a similar sentiment and once wrote about how much fear he experienced when finding himself in the depths of nature. In Jing Liang’s works, we can see a visual and romantic realization of the sensibilities of the two authors. Liang’s works are a metamorphosis of nature -- teeming with reflections, imagination and strength of spirit.
Liang’s works also exemplify the British philosopher Edmund Burke’s idea of the artistic “sublime.” Burke’s understanding of the sublime is a sensation of fear, pain and a sense of crisis that does not entail real danger. Liang’s paintings would seem to be creations of abstraction, but are actually works of reality informed by the belief that human beings will never be able to surmount nature. This sense of awe and reverence towards nature, palpable in Liang’s works, invites the viewer into a realm of beauty and spirituality, a place where Burke’s “sublime” comes to fruition.
Jing Liang’s canvases are like mystic lands, dotted by wondrous, ethereal, and simply stupefying sights. Looking at his works, one can’t help but wonder about his process to creation and think, “How does he achieve all of this?” The answer to this is difficult, as the artist’s process is a tortuous path, full of pits and precipices and visited by occasional bouts of indecipherable murkiness. However, what is certain is that, regardless of the twists and bends of the road, the artist, Jing Liang, is forever trying, forever moving forward and forever evolving.
寫于紐約十一月二十日
B.J. Pang-Chieh Ho （何邦婕）翻譯成英文：
At first glance, Jing Liang’s works seem to evoke many different visual impressions. In his art, you feast your eyes on mists, gentle and diaphanous, shadows soft as silk, crystallized elements pulsating across the paintings, rays of light bursting into bloom, folds of satin sweeping across the surface, and most of all, the image of a broom -- sometimes latent, sometimes more manifest -- tearing across the canvas like a storm. Upon closer study, you see unexpected twists and changes in his brushstrokes – the rushes, the compressions, the lashes, the flakes, the spikes, the scratches, the breaks, the dissolved elements, the sprays – that turn his paintings into a force of nature, compelling and inexorable.
When writing about nature, Johann Wolfgang von Goethe, the great figure of the “Sturm und Drang” movement, spoke of its dark, absurd, chaotic, and incomprehensible qualities. Jean-Jacques Rousseau – himself a figurehead of the age of Enlightenment -- echoes a similar sentiment and once wrote about how much fear he experienced when finding himself in the depths of nature. In Jing Liang’s works, we can see a visual and romantic realization of the sensibilities of the two authors. Liang’s works are a metamorphosis of nature -- teeming with reflections, imagination and strength of spirit.
Liang’s works also exemplify the British philosopher Edmund Burke’s idea of the artistic “sublime.” Burke’s understanding of the sublime is a sensation of fear, pain and a sense of crisis that does not entail real danger. Liang’s paintings would seem to be creations of abstraction, but are actually works of reality informed by the belief that human beings will never be able to surmount nature. This sense of awe and reverence towards nature, palpable in Liang’s works, invites the viewer into a realm of beauty and spirituality, a place where Burke’s “sublime” comes to fruition.
Jing Liang’s canvases are like mystic lands, dotted by wondrous, ethereal, and simply stupefying sights. Looking at his works, one can’t help but wonder about his process to creation and think, “How does he achieve all of this?” The answer to this is difficult, as the artist’s process is a tortuous path, full of pits and precipices and visited by occasional bouts of indecipherable murkiness. However, what is certain is that, regardless of the twists and bends of the road, the artist, Jing Liang, is forever trying, forever moving forward and forever evolving.
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