姚海 Yao Hai

2018. 11. 30 - 2019. 1. 7

​香港世界畫廊

Galerie du Monde, Hong Kong

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」。
 

姚海從小就臨習書法和繪畫,他早期的實驗性水墨作品到現 今的行爲表演、裝置藝術和數碼繪畫在視覺上差異甚大,可 作品之間的變化綫索體現了姚海從創作及認知方面由一到零 再從零到一的過程。2009 年,姚海開始環遊世界進行旅居生 活,在深入了解外界的同時,對過去構建的自我認知產生懷疑。2014 年至 2016 年間,姚海定居於紐約,藝術家把過去 十年從「一到零」的迷惑慢慢解開,重整思緒,這階段對其 後續的創作極爲重要。「解構」的創作概念於 2017 年萌生, 藝術家以分化、破解的方式去面對過去,用輕鬆的態度將曾 經穩固的結構及其意義加以消解和清理。在每次的分化、破 解後,新的結構和意義將產生,從「零又變回一」。姚海的 創作在解構的同時亦在重構。

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。

《花粉》系列數碼繪畫的創作實踐源自藝術家對繪畫邊界的質疑和思考。姚海借 助數碼軟件的多種命令對行為表演所得的寫實圖像進行干預,使它們漸漸地向著 一種抽象性和繪畫性靠近。這種連接前後的實踐方式,證明構成繪畫的結果和過 程是可以被分離肢解的,而階段性的生產都是伴隨在一種自然生長的過程之中。 繪畫的意義已經被生長的過程所消解,最終被定義的繪畫只是一件可視的圖像。

 
《被打開之後的狀態》裝置系列作品在是次展覽中被重新命名,因爲姚海覺得新 的命名方式更接近作品誕生的文脈,並更符合藝術家與材料交流的多種不確定性。 姚海覺得這種不確定性更符合一種代號,就如同我們每個人的名字,最初的意指 是否與此刻一致,其實無法確定,所以姚海獵取了某一刻、某一個與其作品同步 在場的代號進行了命名,如《H115CM》、《甘 2057》、《4008201665》。
 
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。

The exhibition explores the self, as an energy unit, and its underlying relationship with selected media. Yao uses different materials such as paper, metal, wood, tape, palm fibers and acrylic sheets, allowing them to interact and communicate. This process is an exploration of the outside world, aiming to understand the single material (the self) from different dimensions. Elaborating on the concept of “deconstruction and reconstruction”, the exploration extends to the artist’s “After Being Opened”, “Reconstruction” and “Pollen” series. Comprised of installations and digital paintings, this exhibition showcases 21 works with many pieces that have never been seen in the public before.
 
Yao started practicing calligraphy and traditional painting at a young age, and focused on experimental ink painting in the early stage of his career. His practice now spans across installation, photography, sculpture, painting, video, performance and sound. The diversity in the artistic approach and visual presentation between Yao’s earlier and current works reflect the artist’s evolution from “one to zero” and “zero to one” in self-perception and artistic development. 
 
In 2009, Yao began travelling to different countries, in order to achieve a deeper understanding of the outside world. As he gained more exposure, he became skeptical to his perception of the self and the world. Yao lived in New York from 2014 to 2016, and these two years are vital to his development as he started to clarify his doubts and reformed his perception. The concept of “deconstruction” was formed in 2017, where he interpreted the cryptic energy of objects, and reconstituted them in a different form to reveal their most essential properties (“one to zero”). By doing so, he reconstructs and offers his viewers new perspectives (“zero to one”). 

 

The installations featured in this exhibition are inspired by Yao’s early ink and acrylic paintings. He uses digital software to process images of these paintings - the digitally invented morphemes for the paintings are deconstructed in the process, becoming the spatial relationship between lines and geometrics in the installations. The static balance in the paintings, a two-dimensional art form, is once again disrupted, but the lines and geometrics in the installations form a dynamic relationship with rhythm and harmony. This is Yao’s “playful deconstruction” process. 
 
The digital paintings in the “Pollen” series are created based on the still images taken from a performance in Yao’s exhibition in the Hong Kong Museum of Medical Sciences in March 2018. The artist uses digital software to deconstruct still images. As a result, they form random geometric graphics and he deploys selected rhythmic features found in these processed digital images to reconstruct the composition, turning them into abstract paintings. 
 
The “After Being Opened” series have been renamed in this exhibition because Yao felt that using site and time specific codes to name the artworks would be a better representation of the uncertainties he encounters when he communicates with different types of material. Yao wants to capture the specific moment in which the work was created, hence he renamed the works into codes such as “H11CM”, “Gan 2057” and “4008201665”.

Press 媒體報導

 

 信報 Hong Kong Economic Journal | 由解構到重構的藝術表象, p. C8 

 南華早報 South China Morning Post, p.C7 

 雅昌快讯  | 从“重构”到“解构”,“姚海”是否还是姚海? 

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