藝家人－「線・相」許文融、徐華嬬、許崴滋聯展

藝家人－「線・相」
許文融、徐華嬬、許崴滋聯展

Family of the art- “Line, Features”
Hsu, Wen Rong & Hsu, Hua Ju, & Hsu, Wei Tzu Group Exhibition

是一家人的「藝家人」，許文融、徐華嬬、許崴滋在虛相與實相之間，以「線」拉開延伸，通過雕塑、水墨、油彩等媒材注入了他們自身的，或意向性、或抽象性、或情感性，屬於他們各自不同的意境美與氣韻美的味道與風格。

為了將中華文化「書」與「畫」，所追求的「線型」與「線性」美和詩的意境，這種剛柔得中起承轉合，屬於中華文化的超凡脫俗的美感呈現出來。他選擇具連貫的、一氣呵成的草書行筆，以不鏽鋼與青銅為媒材，運用西方的素行觀念，結合中國書法的線性美，形構出或佛或山石或樹的形體，於三度立體空間中；是將中國文學充滿禪意且令人思緒沉澱的詩境意象，如陶淵明、李白、蘇東坡等象徵中華文化意象的詩詞運用在作品中。「東方文人新美學」這樣的意識形態方式把中華民族古典文學的意興風格發揮至他的雕塑作品上，在經由形塑組合之後，都深具文學意涵與詩作的意境。這樣結合中國詩的意境與書法的線性作為立體雕塑的表現，是一種將古代文人的感觸與今之觀者的情感巧妙的合而為一；本質上便是一種融合中國人文精神所講究的融情於景、以景托情的創作形式。

徐華嬬的作品是以「女性/生活」為凝視點，以特有的女性經驗關注、女性情感生活與思想的創作呈現，她亦是通過用筆勾線，形構對象物的輪廓，並藉由線的變化與色的暈染傳達欲呈現的畫面情感與意境；尤其人物的表現更是追求形貌傳神，無論坐或臥…各種神情姿態皆由筆下的線條開始呈現，一幅幅屬於她女性的細膩情感與歲月靜好、閒適自在生活美學。

許崴滋畢業於倫敦藝術大學純藝術繪畫系，她亦善於以工筆細膩及優美的線條，以或疏密、或粗細及虛實變化的用筆節奏與韻律充分體現「應物用線」的美感與技巧來表現不同的對象物。她利用線條描繪，如同一種繪畫書寫，記錄下她個體意識的存在，在這反覆勾勒的過程中，透過自我觀察，再書寫，再反思，以這樣的方式不斷地去進行自我發掘。

As a family of artists, Hsu Wen-Rong, Hsu Hua-Ju, and Hsu Wei-Tzu use “line” to extend between the virtual and the real, injecting their own intentionality, abstraction, and emotion into their works through the mediums of sculpture, ink, and oils, each with their own different rhythms and styles of beauty and aesthetics.

In order to present the beauty of “line” and “linearity” and the poetic mood pursued by the Chinese culture of “calligraphy” and “painting”, which is the transcendent beauty of the Chinese culture that starts and stops in the midst of rigidity and flexibility, Hsu Wen-Rong chooses to use a consistent, one-piece work that has the same meaning as the other. He chooses a coherent, one-stroke cursive brushwork, using stainless steel and bronze as the medium, applying Western concepts of the vein line, combined with the linear beauty of Chinese calligraphy, to create forms of Buddha, rocks and trees in a three-dimensional space; he also applies poetic images that are full of Zen in Chinese literature and that make people’s minds sink into the depths of their thoughts, such as poems by Tao Yuan-Ming, Li Bai, and Su Dong-Po that are symbolic of Chinese cultural imagery. The ideological approach of “New Aesthetics of Oriental Literati” has brought the classical Chinese literary style into his sculptures, which, when combined with form and shape, have a deep literary connotation and a poetic mood. This combination of the mood of Chinese poetry and the linearity of calligraphy as a three-dimensional sculpture is a way of subtly combining the feelings of ancient literati with the emotions of today’s viewers; in essence, it is a form of creation that incorporates the humanistic spirit of China’s emphasis on blending feelings into the scenery and using the scenery to support the feelings.

Hsu Hua-Ju’s works are based on the focus on “women/life”, and the creation of women’s emotional life and thoughts with a unique concern for women’s experience. She also uses her brush to draw lines to form the contours of the objects, and uses the changes in lines and the colouring to convey the emotions and mood of the picture. All the gestures are presented by the lines of her brush, and the delicate emotions and aesthetics of her life are the result of her feminine touch and the tranquility of the time.

Graduated from the Department of Pure Art Painting of the University of the Arts London, Hsu Wei Tzu is also adept at using delicate and elegant lines, which may be sparse, dense, thick, thin, and with variations in reality.
The rhythm of the brush strokes fully realise the beauty and skill of “using lines to respond to objects”. Her use of lines is like a kind of painting and writing, recording the existence of her personal consciousness. In the process of repeated sketching, she observes herself, writes again, reflects again, and continuously explores herself in a way.