艾軒《悄悄告訴你》+《西藏少女》

 

 

 

“假如我是一只鳥，我也應該用嘶啞的喉嚨歌唱：這被暴風雨所打擊著的土地，這永遠洶涌著我們的悲憤的河流，這無止息地吹刮著的激怒的風，和那來自林間的無比溫柔的黎明……──然后我死了，連羽毛也腐爛在土地里面。為什么我的眼里常含淚？因為我對這土地愛得深沉……”--- 艾青《我愛這土地》

艾軒，1947年11月出生，浙江金華人，出生於河北省，詩人艾青之子 ( 然而，艾軒透露，生活中的艾青是個冷血老爸，“他對孩子沒興趣，認為孩子是個多余的東西。”) ，藝術家艾未未之兄。1967年畢業於中央美術學院附中。1969年去張家口種田勞動四年，在鹽鹼地裡學習插秧。

 

1973年到成都軍區文化部創作組。1980年以後曾經六次參加全國性美展。1981年以油畫《有志者》獲全國青年美展二等獎。目前為北京畫院畫家，中國美術家協會會員，國家一級美術師。

 

艾軒先生是一位承前啟后、具有開拓性、個性特征鮮明的中國當代寫實派油畫藝術家，在當今畫壇享有盛譽。他的作品被國內外眾多的博物館和收藏家爭相收藏。

 

中國現代美術史鄉土寫實主義代表人物。艾軒風格的扣人心弦之處是“借景抒懷"。他的大部分作品畫面中僅安排了單個人物：千古荒蠻的莽原上，萬裡冰封的雪域中，一位姑娘、漢子或兒童，眼中閃爍著對未來的企盼，定格在永恆的沉寂裡。這是畫家內心世界的獨白，也是畫家對人生意義的追索和感悟。

 

艾軒的繪畫語言洗練而精致。那“張馳有序、點到為止"的節律、那“箭在弦上，引而不發"的含蓄，那“畫龍點睛"的神來之筆，令畫面尤如悠揚頓挫的音樂華章，使人拍案叫絕。 艾軒用他不可抗拒的藝術魅力，把我們帶入了虔誠而神秘的至高藝術境界。在他那些極具感染力的作品中，我們依稀看到了畫家本人，也看到了中國油畫的未來和希望。

2005年與陳逸飛、王沂東、楊飛雲等人共同發起成立中國寫實畫派。2007年11月30日於北京保利秋季拍賣會上，拍出艾軒個人畫作目前最高價位6,832,000元人民幣，作品為《穿越狼谷》。為中國當代寫實油畫的重要代表人物。

 

艾軒不但是個畫家，還像他的父親艾青一樣，是個詩人。試著讀讀以上的題目，讀讀他的油畫，它給人足夠的遐想空間。那不是一首首很美的詩嗎？

 

 

艾軒作品參展及獲獎記錄：

 

1963年：畢業於北京39中學
1967年：畢業於中央美術學院附中
1967-1973年：河北蔚縣西合營勞動四年
1973年：分配至成都軍區文化部創作組任美術創作員
1984年：進入北京畫院油畫創作室
　
艾軒 作品參展及獲獎記錄：
　
1977年：油畫《三軍過後盡開顏》參加建軍50週年去昂美術展覽
1978年：油畫《保衛》參加建國30週年全國美術展覽
1981年：油畫《有志者》獲第二屆全國青年美展銀獎
1983年：與何多苓合作油畫《鄧小平》
1984年：與何多苓合作油畫《第三代人》，並參加第六屆全國優秀作品展
** 註記《北京華辰 - 2006秋季拍賣會此作品的拍賣訊息》
1985年：油畫《若爾蓋凍土》為中國美術館收藏
1986年：油畫《雪》參加第二屆亞洲美展（日本福岡美術館收藏）
1986年：油畫《她走了，沒說什麼》參加在法國舉辦的第18屆海濱－卡涅國際美術展覽並和榮譽獎
1987年：與王沂東、王懷慶共同赴美國俄克拉荷馬大學作訪問學者一年
1987年：紐約曼哈頓舉辦個人畫展
1987-1988年： 美國主流媒體《紐約時報》、《華爾街日報》、《藝術新聞》、《美國藝術》相繼發表報導和藝評，《藝術新聞》稱之為「一顆上升的星」。「和眾國際社也做了報導」。
1988年：英國蘇斯比公司在北京故宮舉辦援助長城－威尼斯國際藝術品義賣，油畫《寂寞的沼澤》與畢加索，勞申伯格的作品共同參拍，中國日報頭版報導，作者的名字刻上幕田峪長城紀念碑
1988年：受美國著名畫家安德魯.懷斯德邀請在賓夕法尼亞洲和懷斯先生會見
1988年：著名評論家栗憲庭先生為艾軒撰文「從當代美術大勢看艾軒藝術」
1989年：油畫《孩子》入選摩洛哥蒙特卡羅國際美術大展
1990年：四川出版社出版《艾軒和他的藝術》畫冊
1991年：畫《歌聲離我遠去》參加英國克里斯蒂公司首次中國油畫拍賣會
1991年：美術雜誌發表專題並封面
1992年：入選《中國大陸中青代美術家百人傳》並刊登封面，水中天先生撰文「中國油畫的中堅和希望」
1992年：著名美術評論家邵大先生為「炎黃藝術」撰寫艾軒專評「一顆上升的星」
1993年：隨中國美術家代表團訪問德國、荷蘭、奧地利並舉辦畫展
1994年：油畫《融雪三月》榮獲94年中國藝術博覽會優秀作品獎
1994年：油畫《荒原往事》入選第二屆中國油畫展
1994年：英國克里斯蒂公司拍賣圖錄封面《守候冬日的陽光》並印製海報
1995年：由范迪安先生主編的《中國當代10家風格與技法研究》（包括有靳尚誼、何多苓、楊飛雲、劉小東、艾軒等十人）
1995年: 由范迪安先生著文的首批中國油畫有限印刷作品推出（包括吳冠中、靳尚誼、艾軒等六人）中國藝術研究院美術研究所參與推出
1995年：中國嘉德春拍圖錄封面《極遠極遠的歌聲》
1995年：香港出版《中國油畫－從現實主義到後現代主義》兩幅作品入選
1995年：參加第一屆國際藝苑油畫展
1996年：香港亞洲出版社出版畫冊－《艾軒》
1996年：《藝術界》雜誌專題、封面－「艾軒，孤獨美的追尋者」
1996年：與羅中立、王懷慶、王沂東、曹力出訪美國參加中國油畫大展
1997年：油畫《就讓風把歌聲吹散》入選《中國油畫肖像百年展》專輯
1997年：油畫《又請又冷的空氣》入選《中國油畫肖像百年展》
1997年：入選中國美術家全集（由中宣部、文化部主辦）
1998年：四川美術出版社出版畫冊「名家精品」－《艾軒西藏風情》
1998年：與王沂東被澳門市政廳邀請在澳門舉辦聯展，並出版《鄉土情懷－王沂東、艾軒油畫展》
1999年：油畫《陳霧漸漸散去》入選《中國美術百年》。入選水天中著文《中國油畫百年》
1999年：油畫《也許天還是那樣藍》入選畫集《二十世紀中國傳世名畫》
1999年：六幅作品入選由水天中、孫美蘭先生編著的《現代傳世名畫鑑賞》大型畫冊
1999年：由美國著名教授邁克.蘇立文編著的《中國藝術》第四稿，成為美國耶魯大學正式教材，艾軒被列入中國近代美術史從任伯年以來的十幾位代表人物之一。

艾軒的藝術訓練始於1963年入讀北京中央美術學院預備班。在1970年代擔任成都軍區駐軍藝術家的11年間，艾軒多次前往西藏寫生，艾軒的作品幾乎全部以西藏的山水、人物為題材。為此，他曾多次進入藏區。對當地的人文關係有了深刻的認識，每當置身於冰雪皚皚的荒原，面對天地間令人窒息的靜默，他的心靈總在震顫，胸中回蕩著新的共鳴。那片聖潔的土地，已經深深地溶入了他的生命，輝映在他的畫布上。

 

如他所言：「西藏這個地方本身就讓人感覺一種巨大的不可超越的力量。它是亙古不變的、莊嚴的，人面對它往往是無可奈何的。我借助西藏這種狀態表達了自個兒的感覺。」艾軒的成長過程並不順利，幼時家庭的悲劇和文革的陰影，以及長大後對於命運產生不可知的恐懼；艾軒之所以選擇以西藏為題，在於當地嚴苛的自然環境突顯出人類的渺小，畫中人物所面臨的考驗實際上影射了艾軒個人的生活體驗與對於生存的理解。

 

《西藏少女》描繪了凝視著眼前岩壁的少女，高大厚實的岩壁佔去畫面的二分之一，突顯了少女嬌小的身軀，畫面的元素極為單純，艾軒以構圖上的對比彰顯出不可抗拒的大自然力量，岩壁上方蜿蜒的曲線引導著我們的視線，向下經過少女至地平線，放眼望去盡是一片孤寂，僅存少女於天地之間遺世獨立。在艾軒寫實而細膩的筆法中，西藏高原的壯麗與遼闊並非畫面所欲強調的重點，藝術家透過對於人物形象的提煉與景物的組構，不再意圖重現某個存在於現實生活的場景，而是表現「人的狀態及其與自然的關係」，《西藏少女》因而如同一則寓言，在簡單卻深刻的情節鋪陳中，隱含著艾軒對於生命的探索與生存意義的積極追求。

 

創作於1992年的《悄悄告訴你》為近景的呈現，畫面中的白馬溫順地低垂著頭，小孩舉起了手似乎想撫摸牠，艾軒在此跳脫了過往畫作裏的孤獨與寂寞，而以構圖巧妙地拿捏了他們之間的若即若離，描繪出訴說與傾聽的瞬間。藏族自古以來即擅於畜牧，馬是人們不可缺少的忠實伴侶，也在藏族的生活和文化中扮演著重要角色，因此藏民對馬有著特殊的感情，也將馬視為一種有靈性的動物。《悄悄告訴你》僅以白茫茫的雪域荒原與天空為背景，自然環境的描繪比例降低，焦點集中在人和動物的相互依偎，畫中的兒童雖脆弱而令人憐惜，但艾軒選擇以馬這種與藏族生活息息相關的動物入畫，人與馬之間的物我相親，似乎足可抵禦大自然力量的不可抗拒。

 

《悄悄告訴你》是艾軒96年之作品；而《西藏少女》則是92年之傑作。於五月尾在佳士德的拍賣上，《悄悄告訴你》的成交價差不多是＜西藏少女＞的一倍。那是否說《西藏少女》賣得不夠好呢？我想並不盡然，衹是「近看」、「遠看」和「詩意上」的問題罷。在《悄悄告訴你》中，那女孩看著馬兒，可愛的小咀巴微長，真的好像「想說悄悄話」的詩人情懷。我想這也許是艾爸爸天賦兒子有「詩人敏銳的第六靈感」…就算艾軒對父親有著不能解開的心結。

Rare Art Exploration (Series I) -- Tribal Art & Culture of Gond Paintings

Gond tribal paintings are the tribal folk art painting of India. Gondi people pray to various Gods & spirits, and the depiction of their environment in the form of forests, trees, animals, birds is prominent in the paintings.

Gond paintings are extremely popular among most tribes in Madhya Pradesh. Gond paintings are well-honed as an art among the Gond tribe of Mandala and are specially the wall paintings of Bundelkhand, Gondwana, Nimar and Malwa. The Gond paintings are the living expressions of the people of the tribal village that are deeply linked with their day to day lives.

Originally, Gond paintings are painted by the tribal people on the walls of their house and are not just mere decorations, but also the instant expressions of their religious sentiments and devotions. They make ground and wall their canvas and use limestone or charcoal as medium to make various decorative paintings. Themes of the Gond paintings- tribal folk art painting- are based on the local festivals like Karwa Chauth, Deepawali, Ahoi Ashtami, Nag Panchmi, Sanjhi etc. Horses, elephants, tigers, birds, gods, men and objects of daily life are painted in bright and multicolored hues. Tribal Gond paintings are done by the tribal women of the village using simple homemade colors.

Such is the popularity of the tribal Gond paintings that in the Gondwana region, the Gond and the Pardhan tribes have organized and impressed the audiences at exhibitions in Japan, France, Australia and other countries.

Recently, the Gondi artists have started painting on canvas or paper.

Gond paintings use a technique of creating textures by pattern. The artist starts with an outline, which is then filled with block colours. This is left to dry, then elaborate patterning is painted on top, which gives the designs their distinct three-dimensional quality. The artist has to be very precise and the patterning process is very time consuming.
The artists reflect their perception of life through these freehand paintings. For wall paintings, mud plaster base is used over which linear patterns are etched with the fingers.

In Gond tribes, the ground and walls may be used as canvas while limestone and charcoal are used as mediums to make various decorative paintings for their houses. These paintings are not restricted to paper and do not entirely depend on synthetic colors.

Gond paintings have numerous themes including folk stories, nature, religion etc. The paintings could be flamboyant and colorful or could be simple and sophisticated in black and white. Though the style is similar, each painting has individuality in expression and interpretation.

Gond paintings bear a remarkable likeness to Australian aboriginal art. In both these artforms, the brush moves as dots or lines as fillers.

The Gond style of painting would not look out of place in a modern art gallery. It is hard to imagine how these psychedelic images are inspired in community that has had no exposure to the development of modern art.

What's more???

Language of the soul is expressed in the brilliant hues of Gondi art. Its'subliminal eloquence is voiced in the myriad interpretation of the Gondi artists defining signature styles.

These signature styles are the essence of this tribal art form and are intrinsically used to fill the surface of their decorative patterns and motifs. The allusiveness and individualism of each Gond artist is defined by these signature styles.

The Gond tribal community is one of the central India's largest indigenous communities and their art is an expression of their everyday quest for life. The Gond art rendezvous with the belief that"viewing a good image begets good luck". This inherent belief led the Gonds to decorating their houses andthe floors with traditional tattoos and motifs. However, Gondi art has since transposed onto paper and canvass with talented artists showcasing their skills.

Gond art resonates with a culturally distinctive ethos and draws inspiration from myths and legends to images of daily life, as well as it reckons with surreality of emotions, dreams, and imagination. The mythical beasts and the intricate detailing of flora and fauna are the dominant themes that have animated the lives of the Gonds for centuries and their art is used as means to record history.

The fine lines, dots and dashes of traditional Gond Pradhan motifs were introduced to the world by the late painter J.Swaminathan, who discovered a talented seventeen year old Jangarh Singh Shyam decorating the huts of Patangarh in Madhya Pradesh.Jangarh's meteoric rise to fame was marked by his acclaimed exhibitions in Paris and Tokyo and ended on a tragic note with his suicide.

The legacy of Jangarh is captured in the artistic brilliance and creativity of his family who he had mentored in this traditional art form, and thus came about the resurgence of a whole new generation of Shyams.

** More about the development of Gond Art and its rising popularity in the internation market

Jangarh Singh Shyam's proteges include the talented and internationally renowned artist Bhajju Shyam who has been credited with the critically acclaimed "The London Jungle Book".
The book chronicles Bhajjus cultural experiences of London in the Gondi style of art where London is transformed into a jungle inhabited by a host of wondrous creatures.
Bhajjus work draws inspiration from nature ,folk tales and the Gond pantheon.His signature pattern is marked by a chain of linked dancers. Bhajju had his first international exposure in 1998 as a part of a group of exhibition at theMusee des arts decoratifs in Paris ,a tribute to the rich legacy of Jangarh Shyam.
The Gond artists apart from experimenting with themes have also innovated with the medium. Venkat and Rajendra have painted cells for animation film"The best of the best" produced by a Scotland based company. Rajendra's work has been exhibited at the Notingham New Art Exchange Gallery, London. Rajendra in collaboration with Venkat Shyam painted called a 70 Kg fiberglass elephant called the 'udta Haathi' ( Flying elephant) to commemorate the elephant parade mela in London.
Jangarh Singh Shyam's acrylic work was auctioned recently by Southbey's, New York auction, for an amount of Rs. 6.3 Lakhs.
Not surprisingly Gondi art with its vibrant and compelling patterns has captivated the international art market. This exposure has transformed the lives of these tribal artists, encouraging them to transcend cultural barriers and paint the language of the universe in their own special way.

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雕塑家:瑪格達蓮納．阿巴卡諾維茲 ( 波蘭 ) Artist: Magdalena Abakanowicz ( Poland )

這次我到波蘭，有幸參觀瑪格達蓮納．阿巴卡諾維茲的展覽。當我進入展場，就被她的作品吸引。 她的作品大都體積龐大，並大量運用木﹑麻布等有機物料。她的作品揉合了大自然的形態﹐而且亦有人體的展現﹐表現出人和自然的微妙關係。 除了作品﹐令我驚嘆的是整個展館的佈置對作品的影響﹐尤其是燈光的安排﹐為展場營造壯嚴﹑寧靜氣氛﹐與作品互相配合。 瑪格達蓮納．阿巴卡諾維茲 (Magdalena Abakanowicz, 1930-) 是20世紀波蘭藝術家，雖然年屆七十，但對創作依然充滿熱情。 她的作品中，以「阿巴肯」及「無頭人」等系列吸引世人的關注。作品除了展現自然語言的強烈張力之外，更因其自身生長於戰亂以及戰後波蘭的特殊背景，使得作品表現出的真實感，迫使人重新思索人生各樣處境，並追尋生之起源，重新思索生而為人的真義。她並且發現，人與自然存在著一種巧妙的關係，與自然的和諧與親近，似乎能夠促使人進入與未知的造物主的更深一層關係。 這層關係的重建，能夠使得在戰爭中受迫害的人獲得情緒上的醫治，以及精神層面深刻的滿足，並且更進一步使人恢復生而為人的角色定位與確認。

Magdalena Abakanowicz was born in 1930 in the village of Falenty near Warsaw. From 1950-1954 she studied at the Academy of Fine Arts in Warsaw. In the 1960s she began making work from one of-a-kind fabrics that, as a result of the special weaving technique she invented, gradually “tore themselves” from the walls, to finally become independent three-dimen-sional objects. She called these original pieces Abakans, after her own surname. They were first presented at the Fabrics Biennial in Lausanne in 1963, and over time entered the canon of world art, becoming the artist’s trademark. In the 1970s Abakanowicz began to create monumental series composed of rhythmically repeating sculptures, generally made of jute fabric, which she called Alterations. Her models were generally imprints of the human body. To begin with these with these were traces of adults, and later, children. In the 1980s she began producing work in the public space, in its widest definition. She used new materials for making these objects, including stone, wood and metal. This was also the first appearance of the stand-ing anthropomorphic figures, a recurring motif in her work. In the 1990s she developed her own concept of Arboreal Architecture – houses and gardens that were organic in form, with facades entirely covered in greenery. At the beginning of the 21st century, Abakanowicz’s art continues to de-velop at a pace uninterrupted for years. The artist is continuing themes that have concerned her for years, exploring them in different forms. She works in sculpture, painting, architecture, installations, and projects in public space. The exhibition of works by Magdalena Abakanowicz at the National Mu-seum in Krakow is her first show of its size at the institution. It allows us to get closer look at works from various periods of her development. It is not, however, a typical retrospective display. It has been created as a total work of sorts, a Gesamtkunstwerk. Unlike the monumental events of the Baroque era, however, this exhibit does not seek to merely delight with its splendor. While looking at this monumental, yet spare and for-mally minimal exhibition, it is worth recalling that the allegory used to create the pomp of a spectacle serves less to repeat, than to reveal and transfigure meaning that has been acquired. Abakanowicz’s art should be experienced with all the senses, which can lead to the discovery of much unexpected content, in as many different forms as there are visitors to the exhibition. The catalogue accompanying – and acting as an extension of – the presentation is also worth a look, as it features not only the works on display, but also various ways of ap-proaching this rich oeuvre. English illustrated by Dominik Kurytek, Thanks!

Genius of Fantasy - Martiros Manoukian fr Greece

"Not the beauty will save the world, but people should save the beauty." This thought belongs to one of the most famous modern artists in the world - Martiros Manoukian. 

 

His story is one that illustrates a struggle against limitations of any kind, he was born an artist obliged to reject every boundary with his freedom-loving spirit. His art is a well exampleof comquering the structures of firm principles, rules and traditions.

 

 

I was very honour to have the VIP Card to his exhibition in Hong Kong. The theme is:  Genius of Fantasy - Martiros in Hong Kong during the period 9-28th May 2011. Damina-gallery proudly presented Martiros as the World's Elite Contemporary Artist, embrassing by the famous media - International Herald Tribune.

  

Martiros' paintings celebrate the love of life and fredom, esp.. His passion for life is revealed in every brushstroke, with forms and colors expressed as flowing movement and mood. He also expresses the innermost yearnings of truth in beauty with the use of innovative style and new "Technicolor Ethno-Art" technique, incorporating mixed media and metals for which his pronouncement of the laudable motive has been well noticed.

 

Lastly, thanks for Alain. you mademe in this wonderful occasions.

 

 

幸福, Please Enjoy!

Title: 幸福, Please Enjoy!

“幸福是一種靈魂的香味。” ——羅曼.羅蘭

讀過一篇文章，題為「中國當代藝術－"60後" "70後" "80後" 青年美術家隊伍現狀調查」。文章裡將青年美術家按照出生年代，劃分為"60後"、"70後"、"80後" 3個板塊。顯而易見，Jacob Tang Siu Hang (鄧兆恆) 就是屬於"80後"的一代。他樂觀、有抱負、不受拘束，對藝術有一份執著。也是這年代某部份創作人的特質。

這一代，對香港某些人而言。是「恐慌」的一代，「滋事」的一代，踏進21世紀，網絡化、媒體化、圖像化等錯綜複雜的感覺著實影響著每個 "80後" 的心靈。

從 藝術理念上看，“80後”正處於風格探索期，並沒有形成成熟的創作方法論。“70後”那種虛無傾向並向“60後”的“現實主義”;“新生代藝術”;“豔俗藝術”;“女性藝術”;“觀念裝置新媒體藝術”; “寫實繪畫” ; 總體來講，在“80後”具有回落的趨勢。前所未有的衝擊，將這群新人類逼得「多極化」。由於各類資訊充斥社會，也形成一種新創作，新思維。年青創作家之間在並不存在一種共同的生活語言和統一方向；也造就了現時「百花齊放」「百家爭嗚」的現象。

這是一幅令人看後，都會感到愉悅，幸福感悠然而生的畫。正如作畫人Jacob所描述：「愉快與否，我們總曾經歷過童年。會否再笑。我們總曾笑過，回憶的重現也總是黑白。童年時的天真笑容教人回味無窮。大人們看到小孩的天真笑容,沉重壓力也瞬間消失。在畫上我刻意加上圓圈, 代表童年時每一個的成長片段。黑白色的過去回憶,幸福得使我從心中笑起來。真幸福其實不在於時間，而在於個人的態度。幸福好像很遙遠, 也可以垂手而得,全在乎於如何把悲痛埋藏於過去，而積極掌握眼前的歡樂。」

畫中小孩笑意盈盈，紅紅的臉頰，兩隻大牙齒，毫無矯飾，充滿童真。他的這份笑意，是出自內心的某種本能和自覺。大人們大可憧憬這份純真......

男孩享受著幸福，於他而言，時間已經凝注。還有對未來的無限憧憬，他直覺他意識到在人生前方，有著無數的幸福在等待他......

人生誰不想尋求得著幸福呢? 藝術家也談論幸福。

幸福希臘語為 Eudaimonismos 。

究竟甚麼是幸福呢? 幸福是什麼，或許我們無法在第一時間給出確切的答案，可是卻一直在追尋，在探索。幸福，或許只是一種因愛而生的感覺，一份相濡以沫的溫暖，一個眼神傳遞的相知，一個退步後的晴朗……

幸福，總在我們身邊，從來不曾遠離。 

真幸福實在不是甚麼外在的條件, 而祇是個人的一種人生態度, 它是人心中的一種滿足感, 有此滿足感就是幸福。幸福是一種滿足快樂心態,現代人常說人若有了自由而又能免於憂慮恐懼, 免於貧窮困乏, 那就是最大的幸福, 這話是合理的, 但怎樣才能獲得呢?

　　

曾經讀過這樣一個故事，他是一個落魄的畫者，因為熱愛調色板上七色的油彩，而放棄了許多的機會，一心追逐心中的夢想。只是通往藝術殿堂的這一條路，並不平坦。一路跌跌撞撞，由最初的激情滿懷到此後的頹廢挫敗，終於他的畫面任陰暗填滿曾經的七彩。

他以為自己生活在被上帝遺忘的角落，那麼多年的努力付諸流水，平和早已隨著酒精蒸發，淡泊也隨著煙霧消散。他不再懷抱著曾經的夢想，整日里怨天憂人，而曾經裝滿他夢想的畫室，早已落滿灰塵。他就在那個滿是塵埃的畫室中，看著曾經的畫作，嘆息，一聲又一聲，蹉跎，一月又一年。

他總以為自己的人生是灰暗的，因為上帝的遺忘，他的生活裡照不進來陽光。那一夜，下了整晚的雨，他就坐在那個滿是塵埃的畫室，看著接連而來的票據。又到月底了，即使是上帝拋棄了自己，現實依然不能忘記這個角落，那一張張票據累積的數字，如何遞補。再一次，他任酒精與煙霧淹沒自己。

那一夜的雨，滂沱，直至他的心海也泛起波濤，淋漓的雨水混合著淚水，直至天明。當他再次睜開眼睛的時候，陽光明媚，路旁的白楊樹隨風沙沙的清唱著，天邊的雲朵沐浴在清晨的陽光中變換著形態，那一刻有種感動在心裡蔓延，風雨過後總是晴天。衝進畫室的他將那一刻的感動，用明媚的底色暈染在畫布之上。而這幅名為感動的畫作終於帶著陽光，照進了他的生活。
我們想要擁著幸福快樂的度過每一天，於是一心追尋理想中的幸福，卻總是忽略眼前的所有，幸福，我們從來不曾缺失過，只是大多時候我們少了一雙洞悉幸福的慧眼。

幸福，其實很簡單。 最簡單的幸福就是平淡安穩的生活，就是能與家人一起數著年輪的印記，平穩的走完一天一月一年。幸福不在於得到多少，幸福在於感知幸福的能力！一個沒有感知幸福能力的人，無論他得到再多，他都不會幸福; 一個能夠感知幸福的人，無論他多麼平凡，他都是幸福的。

不是每個人都意識到自己有內心世界的，幸福的感知能力就取決於對那些你已經擁有的，你現在擁有的非常普通而又平凡的東西感到幸福; 這些東西往往我們平時體會不到，直到有一天失去的時候才直到珍貴。




Jacob Tang (Hong Kong)..鄧兆恆 (香港)

Jacob Tang is an artist at heart; his passion for art started when he was in high school, and will be continuing into the future. Tang started as a portraitist, painter especially in Philippines where he studied fine arts major in Oil painting at University of the East, His works specialization are in art including photography, design and sculpture.

Tang's work in painting also featured to some art exhibits in Philippines and joined painting competitions and being Finalist in Metro Bank painting competition.
Currently working as an artist - instructor at Galerie Le Créateur and continuing his feistiness in his crafts in Arts.

鄧兆恆對藝術的熱誠始於高中時期,他起始於一個肖像畫家於菲律賓University of the East 主修油畫,他的作品涵蓋攝影,平面設計以及雕塑。

鄧於菲律賓時期參與不少藝術聯展及比賽,並成功打入Metro Bank Painting Competition決賽。他現於Galerie Le Créateur 教授畫班,並繼續其藝術創作。

後記 - 

一個朋友曾經問我：你幸福嗎？我很幸福，每天都幸福，每天都是我這一生中最幸福的日子---因為我活潑樂觀，不嫌其煩地生活… 這雙手雖然小，但屬於我。


作者:
Cressida LAW
<羿> 畫室之創辦人

Simon Birch vs Françoise Nielly

Simon Birch has lived in Hong Kong since 1997 and is widely recognized for his large, figurative oil paintings, many of which are held in private collections around the world.






His new exhibition, titled ‘Laughing with a Mouth Full of Blood’. It sounds rather macabre but it’s sure to be well received. After all, Simon is a bit of a Hong Kong darling: up there with the Star Ferry, Char Siu Fan and moaning about pollution.

It follows his mega multi-media show last year, HOPE & GLORY, which was sort of a sci-fi-cum-rave, artistic theme park. This time Simon returns to oil and canvas with an exploration of the human body through figurative paintings that melt into abstraction, conveying fragility and resilience, movement and mindfulness. These new works, characterised by Birch’s distinctive paintwork, map the complex intertwining of pain and pleasure, aversion and desire, decay and growth. The subjects of Birch’s deconstructed portraiture, poised between action and reflection, intimate vulnerability and the threat of human dissolution, even as they hint at the body’s capacity to resist the abstracting gaze of modern science.

When I am looking into the painting by Birch, I instantly think of a French artist – Françoise Nielly.

Françoise Nielly grew up in the South of France where she lived between Cannes and Saint-Tropez – never far from the light, the color sense and the atmosphere that permeates the South of France. This is coupled with her studies with her studies at the Beaux arts and Decorative Arts, and her sense of humor and of celebration.
Nielly currently lives and paints in Paris near Montmartre. She shows and sells her work in Europe, in Canada and in the United States.

It is less than easy today to discuss figurative painting “as such.” One inevitably encounters the question of why, in this age of “big media” the artist has chosen to fall back on methods of representation deemed by some to be obsolete. The traditional method painter is forced to choose between embracing the gadgetry of our times or stubbornly disbuting it by way of exclusion. Each approach carries with it its share of dogma, and what we are left with is a battle for representational supremacy–for the picture of our times, and, hence, for “reality”–with the former post-technological approach usually trumping the latter. But I would testify there is a third category for painters who approach their own art making with a certain indifference toward such oppositions as modern vs. post-modern.

Françoise Nielly & Simon Birch are “such” artists of that kind. Though both of them approach their subjects with the raw psychological intensity, their paintings unabashedly incorporate a design sensibility which could have come from no other place but modern contemporary media. Generally working in large format, in close to medium range to both their figures,

Nielly’s paintings demonstrate focused dexterity and impulse in equal measures. Her abstract works are like Robert Motherwell filtered through a mauve and violet lens. Her figurative paintings reveal a decidedly feminine appreciation for the male body, and a keen apprehension of the supercool aloofness surrounding contemporary fashionistas. Her intersecting slabs of vibrant pigments sometimes adhere to.

Birch’s paintings show people a glimpse of sadness mood. “Kree” is a good demonstration in depicting “such”. Unlike Nielly, the paints that in Birch’s painting is not as noisy and whimsical and bright as Nielly, however, both share and carry with them the cross components of a cosmopolitan style, incorporating fragments of contemporary art culture and imaginatively synthesizing their fine and decorative arts technique.

More blasts of colour by Nielly’s painting is expressive & colouful, splashing and exhibiting a brute force, a fascinating vital energy. And on the other hand, Birch is comparatively like a cool hunter. His painting is allusive, showing the atmosphere of still beauty and peace.

Anyhow, both artists depicts people from a wide range of ethnicities in trippy technicolor. Niether of them does disappoint their promise to remain unique in there series of fantastic artpieces.

2011 - The Year of Hare

This is a Year of Hare in the Chinese World.

Rabbit is usually regards as smart, airy, with a blithe spirit and breezy personality.

Exactly the characteristics of people who were born in the Hare Year. 

Duffy Family

About Nothing

Afterall, NOTHING...

Whatever, Whenever.......just because DEAR is here!

Shoulder tote Bag: Paint -IY

Starbucks Deer @ GLC

Man & Woman all admires Audrey!