2016/01/30-2016/03/13餅乾盒展覽 I Send You This Short Note.黃華真x黃品玲

關於展覽 About Exhibition｜黃華真

2013年踏上旅途之前收到P從巴黎寄來的小包裹。普通信封的大小，稍微鼓一些。打開之後發現裡面是七張不同尺寸的迷你畫布：比她留的信紙還小、比0號還小，簡直像餅乾一般，能夠收在口袋裡的尺寸。於是它們成為這個系列的起始。我找了一個漂亮的餅乾盒把它們收集起來（倒是很快就滿了），一邊擴充一邊想像帶著它們在任何時刻任何地方都可以發生的各種展覽樣態。

或者不如說是分享：它可以是有趣地溫情地，有時候又容許帶點寂寞的強迫——而不管是哪一種，大概都能說是最接近做作品的人對「展覽」的原初趨力吧。

除了「可愛」這個不怎麼可愛的形容外，它們於我有一種信物的意義：那麼輕盈，卻滿載一切條件與一個在他鄉的時刻。這種輕盈同時帶來一種很好的平衡，作為一個隨時可以預備好的展覽，或者偶遇之人的禮物，都可以是得體的。深刻不致沈重，有趣不致失禮——這大概也是一種浪漫吧。

Before starting the journey in 2013, I got a package sent by P from Paris. It was a normal sized envelope, slightly overfull, and contained 7 different sizes mini canvas: they’re so tiny that even smaller than her note—seemed like cookies, also could be hold in pocket. I brought them abroad and used for the first (tiny) painting series in Helsinki. I found a gorgeous cookie box for them, imaging about more exhibitions while keeping making new ones. I sent a picture of them to P; we promised to have an exhibition for those tiny babies someday together. The mini paintings are expected to be interesting and warm, yet sometimes made by the inspiration of loneliness. When talking to someone, when getting connection with people, I recalled the beginning spirit of why we try to exhibit from the progress of the exhibition making. Each tiny object carries fragment of the time and space to be a token to remark something. Its lightness allows our insistence of using oil material in travel, also brings a nice balance for the paintings-- thoughtful rather than overwhelmed, playful rather than rude—as a ready exhibition or a gift for random friends in traveling, it would be both beautiful to think of. Ultimately, it is a kind of romance to hold an exhibition in a pocket, isn’t it?

藝術家自述 文｜黃華真

將在路上受到的祝福帶回家，然後成為別人的祝福，就是旅行的意義。我們時時刻刻經歷着生而為人這件特別的事。每個人身處不同成分卻都在相同結構的關係中，這些關係交織成為了我們及我們的時代。為與世界中所有世代的所有人相遇，我一次又一次將那些欲言又止的時刻輕輕篩落。每個無特徵的五官與背影、嘎然即止的手勢、自然所帶來的震懾都使我們與另一個時刻的自己迫近，於是每個名為「我們」和「這裡」的彼此在此相遇，形成了所有無可取代的體驗；而當中那些相同的結構之下，各自包含著作為纖細骨架的真實與深刻，微微發亮——恰巧便是亙古以來不能或缺的向善（goodness）前進的鑰匙。

於是我試著更多感謝與珍惜生活，更多認識自己與這個世界；與更多人交談，搜集與傳遞更多故事，交換更多意見。無論生在何處我們努力着，在小事上忠心，在真理中站立。最終他們會說，這人一生由天父厚恩對待。

Artist Statement｜Hua-Chen Huang

I’ve brought back the blessings that I received along my journeys, and turned them into blessings for other people. This is the reason for traveling. We are always going through the special experience of “what it’s like to be human”. Each person is unique, but we also shared the same compositions, and these relationships are what have come together to form “us” and the era we are in. In order to meet people from all the different generations dwelling in this world, I have time and time again ever so lightly filtered through those moments that are difficult to express with words. Each indistinct feature and figures viewed from behind, gestures that have suddenly come to a pause, and impacts incited by nature have all drawn us closer to our other selves from another time. Therefore, all those versions of “us” and “here” have come to meet at this point, and the encounters have become an irreplaceable experience. The shared compositions within the experience all have delicate bone structures constructed with genuineness and profoundness, and they exude a gentle glow. They happen to be the key that can push forward the sense of goodness that has always been indispensible since the history of time. Therefore, I value my life and appreciate each and every day. I try to get to know more about myself and this world and to talk to more people to collect and pass on more stories and exchange different ideas. Regardless of where we are, we are dedicated, as we stay loyal to the little things and stand by the truth. Eventually they will say that this person has been blessed with the heavenly Father’s grace in life.

藝術家自述 文｜黃品玲

我創作的衝動多來自於想要傳達無法用文字或語言描述的抽象感知與意像。我常覺得自己被困在現實與想像空間，這種狀態使我渴望可以將這樣的場景描繪出來，讓我的兩個維度（現實/想像）可以連接。我的創作是比較依靠直覺與感性的，對我而言，繪畫是ㄧ個最能直接傳遞想法的媒介，透過手與畫筆將感性輸出於畫布上，是個可以直接描繪感受與想像的方法。作品再現了存在於腦中不可經由語言或文字敘述的感知，此感知對我而言以風景或地景的形式存在。一個「場所」（place）、「空間」（space）對我們來說俱有的意義：除了空間性質的可描述性、可認識性、身處其中的感受等，還包括過往記憶的內容。這種回憶可能在舊地重遊、或是某些似曾相似的場景中被喚醒，我們因而獲得於相異時空中往返的經驗。當我處於獨處狀態時，當對外的聯繫關閉後，進入了深沈的思考維度，我所稱之為：心靈結構，一個得以安頓潛意識的空間，這樣的空間意向朝著兩個方向運動：它在我裡面以及我在它裡面。在我的作品中，我屏除場景之外的線索，排除過多的象徵與指涉，例如人物、建築、物件等等⋯⋯把場景獨立出來，所形成的畫面通常呈現著一種孤寂的氛圍，呈現出在思考上人是絕對的孤獨這個現象。在繪畫時回想起某個景色，我回想起的並不全然是視覺本身，其實，對我而言最能操控畫面的其實是當下面對風景的感受、氣氛、濕度、溫度。我把風景作為可以承載想像的場景，並在其中設法標的自己/安置（place）自己。

Artist Statement｜Pin-Ling Huang

The impulse of my creation often came from the eager to express the abstract perception and imagery which cannot be described by words. I felt like that I was trapped between the reality and the imagination. And this predicament pushed me to paint these scenes down, to make these two dimensions (reality/imagination) linked. My creations rely more on intuition and sensibility. To me, painting is a media which can express the idea most directly. Through the hand and the painting brush export the sensibility onto the canvas, to depict the feelings and the ideas straightly. My works represent the perception in my head which cannot be described by the words. To me, these perceptions are existed in the form of landscape or scenery. The meanings which carried in a place, or a space: Except the describilty, recognizibility properties of the space, the feelings when exposure in the space; There were the memories of past. These memories could be wakened when revisit the place or the similar scene. And through this we could across the different time and spaces. When I was all along, shot down all the outer connections and entered the deeper dimension, I called it: mental structure, a space to settled subconscious. The imagery of this space includes two directions: It’s inside me or I am inside of it. In my works, I abandoned the clues except the scene itself, abandoned the symbols and the referents (characters, buildings, objects…etc) which were too much. I stood along the scene itself, and the images often delivered a sense of loneliness which showed that when speaking of thinking, we are all along. When I review some scenery when painting, visual images was not the all I reviewed. Actually, to me, the most influenced things are the feelings, atmosphere, humidity, temperature in that moment. I see scenery as a scene which can bearing the imaginations, and tried to place myself in.