Tuesday, 22 May 2018

Politician-turn-artist David Hinchliffe recounts his love of Wanchai

David Hinchliffe in support of the #ForArtSake event

David Hinchliffe, former Brisbane politician and one of the best-selling artists of the Affordable Art Fair Hong Kong (17-20 May 2018), had the highlight of his day as he jammed live painting with a local dancer in support of the #ForArtsSake Friday charity evening.

David Hinchliffe is a politician-turn-artist



"For 25 years, I was a politician and deputy mayor of Brisbane," says the artist, who studied fine art in the early 1970's before pursuing a career in politics in 1988. "Political decisions affect everyone, and we need to get good people into politics. However, the political process is frustrating." Tired and disillusioned, David decided to retire from politics and switch back to painting, his first passion, in 2012.

As if to make up for the lost time, during the past six years he has painted fervently with quick, impressionistic brushstrokes and managed to create a painting every day. His canvases of Hong Kong capture shapes of shimmering skyscrapers, moving double-decker trams, kissing lovers and sentimental umbrellas as rain romantically melts them with light, shadow and reflections.


David Hinchliffe's Hong Kong series


 Tai Po Kau Forest Trail (2018) is sold to Sophie

Tai Po Kau Forest Trail (2018) 

Alongside his penchant for rainy-day urban streetscapes, he also paints Hong Kong's greenbelt which grabs many city dwellers here. "I feel immersed in the forest trail, imagine myself walking in the painting," says local buyer Sophie, explaining why she fell for her purchase - Tai Po Kau Forest Trail - at first sight.

The blissful artist admits that he is encouraged by so many art lovers who resonate with his work. To make his art a guaranteed sell-out, he and his gallery would purposefully cap the price of each painting under AUD 10,000 (HKD 60,000).

Unlike many struggling artists who barely make a living, David enjoys the luxury of crisscrossing around the globe, travelling and painting while renting art studios in New York, London, and Hong Kong to paint his works before his sell-out shows. Many of his Hong Kong series were created inside his home studio at Wood Road, Wanchai.

David Hinchliffe owns the Suzie Wong painting (photo captured by the artist)

"I own the Suzie Wong painting drawn by William Holden inside the movie," the artist proudly unveils the reason for his deep emotional attachment to Hong Kong and Wanchai in particular. "The romantic classic, The World of Suzie Wong (1960) was filmed roughly the same time that my dad, Bruce Hinchliffe, as a journalist stationed in Hong Kong." The £100 Suzie Wong painting, bought by David in 1976 in a London Gallery, is now kept in Bruce's place in Brisbane.

"Some 50 years later Hong Kong still exudes the fast pace and the dynamic flavour of multiculturalism," David added. With a studio in Wanchai,  the thriving artist has promised to come back and capture more and more of Hong Kong on canvas.



Artist Website:
https://www.davidhinchliffe.com.au/

Monday, 7 May 2018

陳翊朗 (Oscar) 鬼怪作品回顧

陳翊朗與2018版的《本來無一物》

一位藝術家的名字若能令人聯想到一個代名詞,誠屬可喜  大師Andy Warhol 與金寶湯,草間彌生與圓點 (Polka-dots),我們早已耳熟能詳, 本地年輕藝術家陳翊朗 (Oscar Chan) 則以「妖魔鬼怪」綻放光芒,令人注目。年紀輕輕的他,於2011年畢業於香港浸會學院視覺藝術系,卻猶如一位幽靈界導師,教曉我們晦澀的「魑魅魍魎」(音:黐未罔兩)— 寄生於森林河水中的鬼怪  還自創了好些聞所未聞的牛鬼蛇神,如自幽鏡、牆前鬼、破瀉神、流樹儡,為作品平添了獨一無二的神祕色彩



《流樹儡》2016  水墨畫布 220 x 125 cm(藝術家網站)


終極恐慌:死亡


與其說採用「妖魔鬼怪」為主題,藝術家更認為他的作品代表著恐懼與不安。「每個人心裡都住了一些妖怪。」Oscar 在介紹其作品時說:「在我心裡最強的妖魔便是恐慌。」即使初次見面,不難察覺他的額之間有一列四、五吋長的疤痕,留下曾與死亡擦身而過的痕跡。


藝術家陳翊朗


《自畫像》2016   40.5 x 30.5 x 4 cm (藝術家網站)


「十歲那年暑假的頭一天,我的腦袋突然劇痛,跟著做了一個大手術... 」藝術家跟我道出猶如「死過翻生」的經歷。毫無先兆的惡疾,冥冥中被選中,卻又死裡逃生,死亡的夢魘至今縈繞不去。藝術家的不安與恐懼,有著對命運、對未來的不可知,然而最終極的恐慌,可就是『死亡』這個存在主義者的迷思 - 人從哪裡來,將往哪裡去 - 吊詭是這種浮躁不安,正是Oscar 藝術創作的原動力,且是題材不絕而來的原因。

《也許是魔鬼》 2015 -16 (藝術家網站)

在眾多鬼怪創作中,特別為廣州「觀察社」場地而創造的《也許是魔鬼》可謂里程碑。首先,藝術空間被佈置成供奉鬼神的寺廟,四邊的白牆身以水墨方式塗滿鬼怪,它們自由自在地跳躍於牆身、天花和柱位,並越出了邊界  看似隨意塗鴉,卻反映出藝術家與鬼怪,以及鬼怪與觀者之間的微妙關係。有的鬼怪如骷髏骨面目獰,眼眶深如黑洞,裂咀欲要把人吞噬,有些異常高大顯眼,有些則像匿藏於黑暗裡轉角處,俏獨處一隅,似乎惡魔鬼怪都有不同的性情。作為觀者,我不因場內所見的鬼怪而驚憟,反之這些妖魔鬼怪好像剛剛目睹了我們現世更可怕的境像,受驚的眼神埋藏著深層的恐慌。

《也許是魔鬼》 細節畫面。(藝術家網站)



「水墨具『化開』及渲染的特性,讓人抒發靈魂深處的感受。」Oscar 說。鬼怪 一直伴隨藝術家的作品,自從廣州的裝置嘗試,他開始捨棄色彩,更多時候改以水墨來畫鬼怪,並從各種宗教取得資料及靈感 —《七魄悠悠 》畫出七幅源自道教「三魂七魄」中的「七魄」造像、《現世地獄 》融合羅馬天主教的七宗罪,以及印度的七大脈輪塑造鬼神形像; 在南京四方當代美術館的《山靈之主》岩畫則是戶外作品,將創作地點從室內移到南京老山森林區的野外山林,把妖怪以水墨繪在天然的岩石上。

Oscar 認為不少宗教以嚇怕人為手段,他本人卻無任何信仰; 把惡魔鬼怪重覆繪畫,反而是一種救贖的方式,不經不覺治癒了內心的恐懼。


《七魄悠悠》2016,包括七張鬼怪造像。(藝術家網站)

化解心魔-《本來無一物》

冥想、打座、放空、都是藝術家平伏心靈的慣用方式。他經常在「什麼也不諗」的「放空」狀態下從日常生活及現成物汲取靈感。《本來無一物》仿瓷磚裝置,取自禪宗六祖慧能大師的著名偈語,靈感源自呆呆瞪著家中厠所的花紋瓷磚,感到原來瓷磚猶如反映內心世界的明鏡,看似瓷磚實則為木塊,虛幻一場,在創作時也同時消解了內心的恐懼。不久前,他参與了K11 Art Foundation 的群展Emerald City,獲委托重新演繹這件2011年的舊作。七年前繪上魔鬼瓷磚,今日改以抽象的圖案取代,可見創作時更隨心隨意,但是否真的戰勝了心魔,頓悟到「本來無一物,何處惹塵埃」?還是反映鬼怪化作抽象,祗因無處不在?


《本來無一物》2018 @ EMERALD CITY展覽
行為藝術實驗 自由落體》

Oscar 另一標誌性作品,要數於「咩事藝術空間」(已關閉)進行的行為藝術實驗自由落體》,其英文名《Soliquid》說明浮游在固體(Solid) 與液體(Liquid) 之間的狀態,亦是一場外在誘惑與自省的操鍊與覺醒。這個實驗是他將自己鎖在佈置成家居的藝術空間內,18天裡雖接受探訪卻足不出戶,餓了便用古老的手撥電話叫外賣;不過,遠離平日現世的Attachment (附件)如手機及電腦網絡,才是最大的挑戰。據藝術家說,初期難熬,但三、四天後便習慣,安然望著天花板發呆,平靜下來又做了一些作品,包括牆壁上的橫線和鉛筆素描。


《自由落體》2017(藝術家網站)

「我用身體貼著牆壁走,手用鉛筆在牆上畫出橫線,重覆地畫直至牆壁蓋滿鉛筆線; 我平時有冥想習慣,當四周刮著颱風,而你站在中間的風眼中,反而覺得無比平靜。但直線其實很難畫,心急及情緒緊張都會出現偏差,這些畫出來鉛筆線,就像我的心靈報告。」

藝術家還畫了一幅左右兩手打成手結的鉛筆素描,祈求平安信心在握,唯別具寓意的,是其中一邊手腕被折斷,經脈不通難以相連,藝術家的心靈似仍處於困惑糾結中。

《自由落體》房間留下的橫線及手結鉛筆素描。(藝術家網站)


藝術家在《自由落體》期間畫出祈求的手結。(藝術家網站)

註:
藝術家陳翊朗網站:http://www.oscarchan.com/