姚海

Yao Hai

2018.11.30 - 2019.1.7

世界畫廊, 香港

Galerie du Monde, Hong Kong

In this exhibition, Yao Hai created 21 works in which he explores doubts about the self, society, time and reality, undergoing a process of solving the uncertainty until reconstruction occurs. He begins the exploration with a concept of ‘deconstruction’, to create three different bodies of artwork - ‘After Opening’, ‘Reconstruction’ and ‘Pollen’.  

 

Installation works shown in this exhibition were inspired by his other paintings. And digital paintings, also shown in this exhibition, were created based on the stills captured at a performance art project of himself. The association with space and material was the underlying indication. Corresponding to his paintings, some of the symbols and language reflect a part of real life. It is a topic for discussion. It is also about a spatial relationship. To be exact, it is something that exists in real life. It is brought back to the reality in a symbolic form through the creation process of the works, generating a repeated fusion of space and time.   

 

For the installations, Yao Hai was inspired by the arresting quality in paper itself. Under the influence of changing weather, material’s responses to the changes are intriguing, providing him some indications. While he follows the trace, he continues to create new language from material that has been opened, and to look into other new ways to open material. For that, water-based colour, sewing and cutting, and some other behaviors involved in the making are the effective approaches. The entrance to the creation on the series of installations ‘Reconstruction’ involves reconstruction and reconciliation of a cause-effect relationship, history, cultural symbol and language.

 

Yao Hai’s understanding of material is that there are infinite ways to open it. Each emerging new skill brings new possibility to it. In other words, material itself has the quality of being possible to be opened.

 

展覽以藝術家對「解構」的概念為出發點,延伸至《被打開之後的狀態》、《縫合》和《花粉》系列,展出共 21 件作品,探索姚海對自身、社會、時間及現實的懷疑至消解懷疑的過程,直到「重構」。

 

是次個展的裝置作品靈感來自繪畫,而數碼繪畫的作品又是以藝術家過往的行爲表演所得的拍攝圖像作爲基礎藍本而創作的。在思考的線索背後,有與空間和材料的關聯性在其中。 對應其繪畫作品,可以看到這些裝置作品中的一些符號、語言體現出現實生活的某個局部,它是一個議題,也是一種空間關係,事實上就是存在於現實生活中的某件事、某件物件。姚海又通過作品、將其以一種符號化的形式回到現實中,形成一種空間跟時間的反覆交融。

 

其中的装置作品部分,藝術家的創作受到紙本材料本身所展現出的形態魅力的指引。材料在天氣環境變化的影響下,形體發生了有趣的變異回應,帶出啟示,藝術家便沿著這樣的線索一邊繼續創造可以被打開材料的語言,一邊實踐和尋求新的打開方式。作品中使用到的水性顏色干預方式、縫紉和裁切等工作行為都是姚海所採納的有效打開途徑,而《縫合》裝置系列作品的創作入口更包含因果遇合、歷史和文化圖像語言的演化調和。
 

對於一種材料,姚海的理解是,打開它的方式是無窮的,每一種新工藝的誕生都會賦予某一種材料新的可能。反 之,也可以說材料本身就具備這一切被打開的可能性。因此,打開的意義也就無窮大了,它不只是滿足藝術家一 種視覺的期待和刺激,更是一種無休止的推動力,促使姚海永不停息地打開一切。