Dai Bih-in

Eight years ago I met Chia Hua in Spain, and we spent a month in each other's company. At that time he was studying in the United States, and had just received a scholarship for academic achievement, to undertake an advanced program of study in Italy. For more than ten years we have only been able to keep in touch with what each other is doing through relatives. It was through such channels that I first learned of Chia Hua's outstanding achievements in the States, which made me happy for him. In the month we spent together, we discussed many issues relating to painting, global trends, culture, society and economics, but I particularly remember his thirst for information on Taiwan. Through our numerous discussions he expressed a level of sensitivity and attention to detail that clearly showed his great concern and love for the place of his birth. At the time we met, Chia Hua was busy preparing his Graduation Thesis for the Department of Architecture, but his passion for painting still burned strongly. I was especially struck by his insistence that despite being in Spain, he had to find a copy of "New York Times" each and every day, to keep up with the latest world news. We often talked at length about recent developments in global events.

Three years ago Chia Hua came face to face with a major personal challenge in his life, which pushed him from the dazzling brilliance of youthful vigor and an almost irrational characteristic towards a more reflected self. This experience forced him to reconsider his life and to start his journey anew. On seeing some of his recent works, I was reminded of the words of an elderly Zen Buddhist monk, whom I met during my year in Southern Europe. He said : "Anyone who has not collided with the point of origin in their lives will find it difficult to grasp what life is all about".Chia Hua's recent pieces run counter to his earlier works and the sort of confident emotional release these displayed, elevating them to the realm of "solemnity". On an initial viewing they appear to adopt the style of a specific school, but on closer inspection one finds that this is just the "target" of a "phenomena" in his experience. In addressing the system (target) he is struggling against, Chia Hua dexterously seeks to deconstruct it. Leaving almost no traces, what remains is a subjective situation, from which he can face the problems in this part of his life with reason and calm. In the works "Memory of a Winter", "Space" in 1996, to "Neverending Rain", "Freedom" in 1997, and "Red Shadow", "Anima" in 1998, we experience enlightenment as with Zen Buddhist morality tales, like a bolt out of the blue. Chia Hua has tried to return to his own country - Taiwan, for many years now, but things have never quite worked out as he wished. The nearest his travels have previously brought him has been Japan or Hong Kong and fleeting reunions with family members.

Today marks the first time in 15 years that he has been able to return home, and bring with him the beauty of his works to share with us all. I applaud him and greet him with open arms, as the newest member of our local art scene.

 

 

文 / 戴壁吟

八年前，和嘉華在西班牙見面，相處一個月。那時他在美國唸書，得到學校優秀學生獎勵，往義大利進修一年。十多年來只透過家人傳達彼此近況與關心，知道他在美國所獲得的榮譽與順利，為他感到高興，在一個月的相處時間裡，我們談論了許多有關繪畫的問題，和世界局勢、文化、社會、經濟、和他渴望要知道有關台灣的種種問題，感到他對自己出生地以他那敏銳、纖細特質顯現出對台灣的關心和愛心。那時他正準備建築系的畢業論文，但他那對繪畫的熱忱仍熾熱的燃燒著，尤其令我印象深刻的是，在西班牙他總是企圖找到當日「紐約時報」去掌握世界脈動和我討論。

三年前，嘉華面對一場生命原點的挑戰，使他從光芒的年輕奔放，幾近非理性的特質，回歸到對人生命原點的探討，再度的重新出發。我看過他最近作品，使我想起在我旅歐前那年，在南部山上遇到一位老禪師，對我講過的一句話，「沒有碰觸過生命原點的人，很難感受到什麼是生命」。在他展出的作品，一反過去的那大幅以他內在穩健所作情感的發洩揮灑昇華到一種「畫到無聲」的境界，初看似某種特定流派形式，細讀之後，發現那只是他經歷中得一種「現象」的「對象」，正是他所對抗的體制（對象）。他輕巧的把他解體，幾近不著痕跡的只留下主位情境以理性、冷靜、去面對他這段人生過程的經歷。從96年的「一個冬天的記憶」、「空間」，到97「不停的雨」、「自由」，到1998「紅色影子」、「靈魂」，有如禪宗公案那種棒喝後的悟道歷程。幾年來他一直試圖回到自己的國家—台灣，都未能如願，長程旅行只能暫時停靠在臨近的日本、香港和家人做短暫相會。

今天，十五年來嘉華第一次能踏在自己的土地上，並帶回他那美味，呈現給我們，我拍手，拉開雙臂迎接這位台灣畫壇新人加入我們之中。