Layered Complexity of Lights and Shadows - Paintings of Chi Chia-Hwa

Wang Pin-Hwa

At first glance, viewers may mistake these pastel-colored paintings as following a particular style that relied heavily on colors of the latest urban fashion. But upon closer examination, one will find that between layers of colors, there are traces of lightly painted marks or arcs. These works are in the series entitled "Rebirth" that was first displayed in Chi Chia-Hwa's solo exhibition at the Stock 20 Gallery in April, 2002.

"Rebirth" marks a departure from his early 1995-2001 works, which are paintings based on repetitions of small geometric lines. What was once a new beginning for him has now become the basis of his latest works that is shown at his 2003 solo exhibition at IT Park Gallery. In "Rebirth", each work is covered with a single color. Again, without closely examining these paintings, viewers would not notice the subtle changes in colors and the various interplays of multi-layered of lights and darks. However, one might finally realize that these paintings were executed under natural lighting in the artist's studio, and it is nearly impossible to detect all the subtleties and nuances occurring in them when viewing under the gallery's artificial lighting.

While the visual experience of seeing layered complexity of lights and shadows is one of the most important themes in this exhibit, other new developments can also be seen such as various brushstrokes with highlights or diffused lights used within a single color field and the suggestion of water flowing in "Moonlight / Wings". These works display a rather soft and exquisite style. The atmosphere thus created is reminiscent of the sighting of the aurora borealis. In other works, we see a new interpretation of spaces formed by seemingly infinite number of arcs, as first seen in "Rebirth". They can be viewed as a continuum of the earlier paintings that were based on simple geometric lines. It is apparent that the spaces constructed with curving lines are more dynamic and obscured. The recurring circular brush marks fabricate a unique space that not only expands outward to its surroundings but also penetrates inward in depth. This space, using circular shapes as its basic elements, can best be described as existing between geometry and nature. There are some that are painted with colorful dots and marks in various shades, which recalls familiar sceneries: the luminous sky, the vast earth and the multi-layered space. The experience of such landscape, executed with carefree brushstrokes, is further enriched by the hints of lights and shadows.

Using two-dimensional forms to express the intrinsic value of lights and shadows create an interesting dialogue. With painterly marks, sensational colors and flat surfaces, Chi Chia-Hwa authors a visual language that can only be obtained through an understanding of rational architectural forms and moving images (videos). With unique colors and multi-layers of space, he creates a playful environment, one that is permeated with misty colors at a well-kept distance from the viewers. This place is neither too aggressive nor inaccessible but rather, it offers delicate hints of welcoming sensibilities.

The sense of velocity in such a surreal world - one that is in slow-motion - exists in the mind's eye of Chi Chia-Hwa. Yet, his perception of decelerated time does not conflict with his quick expressionistic markings. After all, beyond the coolness and complexity of his modernistic style, Chi's paintings radiate an underlying richness of layers and sense of serenity that transcend time.

 

 

光影錯約 － Paintings 紀嘉華個展

文 / 王品驊

乍看這樣以淡暈色面為主要語言的作品，觀者會以為這樣的風格是和都會的粉色流行系列有關，但是觀者如果更仔細的近前去看，會發現原來在淡暈的綠色或粉彩間，有著淡淡抹刷的痕跡或輕輕勾勒的圓弧線，而這就是2002年4月20號倉庫紀嘉華個展中所出現的「重生」系列作品。

「重生」系列開展了2003年以『Pantings』為題的伊通個展的作品脈絡之一，這樣的作品出現於早期1995-2001年間以幾何性短線佈滿畫面的作品之後，成為2002-3年的新語言源頭。全畫面籠罩在單一的色相中，如果沒有同樣的凝神關注，觀者是不會發現色暈中不斷變化著的微妙色差，以及虛虛實實的光影交錯；而且當發現─這些作品是作者維持著畫室白天的光線作畫所完成，觀者想在展覽現場的人工照明光線下看出所有的色感變化，大概還做不到呢！

光影交錯的視覺經驗可以說是這次展覽的重要主題之一。並且因為我們可以看出還有幾個新的發展─同樣以單色相為主，如畫面有亮光或消光筆觸變化的作品或以多水分的流動感發展出的「月光∕羽翼」，這個脈絡的作品呈現著輕柔微妙的風格和氛圍，彷彿瞬間乍見的極光閃現。其次，從前述的「重生」系列畫面已出現的圓線勾勒，我們將看到已不斷重述衍生的圓形筆觸所圈出的新空間狀態，這是早期幾何性短線組構畫面的延續之作，但是圓形圈起的連續性筆觸空間與短線幾何空間相較，總是顯得更為有機，且空間更曖昧，彷彿這些連續性筆觸形成一個獨立的空間，向四周、向深度延伸著，而且這是一個以圓為肇始、介於幾何和自然之間的空間。接著，是充滿光影色點、油彩刷塗的繽紛畫面，那些畫面有著一種經驗中的風景感，有天光地景的遼闊和空間層次，然而無論線條或色點都是以自由寫意的方式奔騰著，因此那種經驗中的景觀感受，其實是一種光影的空間暗示造成的。

以平面繪畫型態卻展現了光影的錯約極致，這是很有趣的一種對話。紀嘉華走在以繪畫的筆觸、色感、二度平面空間所建構出的視覺語言世界，所消化對話的語彙卻有來自理性幾何的建築形式和動態影像（錄像）所體現的光影歷程。在他獨特的色彩和空間的多層交織中，他創造出可遊、可興的新空間，那空間的存在總是以白霧般的色感與觀者保持著適切的距離，既不強勢、也不疏離，還透過隱約細膩的感性產生一種親切的感情韻味。

當然這樣的世界的時間感，是屬於作者精神狀態所籠罩出的獨特時間─非現實的慢的世界，這種慢的體會與筆觸的快和急速寫意不相牴觸，原因是即使是消化了當代的冷感光影和複雜混亂，他的繪畫仍舊在豐富中體現出多脈絡、可靜觀的語體，創造了具延續性的空間景觀。