《靈光˙刺點》戴明德˙戴宏霖聯展

《靈光˙刺點》戴明德˙戴宏霖聯展

展期｜2020.03.10 - 04.26

展點｜102 ART GALLERY(Tue-Sun11:00-18:00)

地址｜台南市仁德區成功三街102號

Aura ˙ Punctum: Tai Ming-Te & Tai Hung-Lin Joint Exhibition

A creative dialogue between father and son, compensating for the silent spaces in their conversations and relationship.

Tai Hung-Lin published a selection of works centered around “90’s Anxiety” in the past, and his photography works capture fleeting moments of light and shadow. The abnormal, wild, and exciting moments represent the generational anxiety among the 90s in the face of fast-changing information. The blurry images of female bodies hint to fear and sex, creating object symbols that form a sense of eeriness and abruptness, inciting sensual stimulation, and provoking restless and acute nervous sensations. The still life image installation series builds a dialogue between blank spaces and chaos, intertwining his own bodily hair with complex emotions.

Throughout more than 30 years of his creative career, Tai Ming-Te often refers to himself as having “transformed into a drawing machine that documents the times through sentiment and unremitting creativity.” Tai’s “Self-portrait” series refers to memories that are parallel to the times, forming autonomy through self-reflection and self-mumbling. The series is different from previous works that avoid the self and depict scenes of dilemma and reality and finally returns to creating artworks for the self, just like the return to authenticity. These works, which are born through in-depth conversations with the self, have become a message board and memorandum for the future self. The artist believes the honesty of the works will surely evoke resonance among viewers.

The drawing intent is linked with the self and society through pictorial transformations and practices. Layered with life memories and political parallax, these works are a response to the formation of the land’s cultural dynamics and atmosphere. Self-portraits Solo, Recovering the Emperor’s New Clothes, Data and Portraits, and Masquerade uses the human face spider as a metaphor for the self. At the same time, the amusing alterations in personality and limbs become ineffable visual punctum and issues.

『靈光˙刺點』 – 戴明德˙戴宏霖聯展

這是一場父子在創作上的對話，補償平時無言…..關係缺口。

戴宏霖曾以「九零後的世代焦慮」出版作品集，其影像作品擅於捕捉快速流逝動態的當下，採集光影流轉一瞬間；變態狂野生鮮活辣的片刻，背負厭世代對資訊快速變動產生焦慮氛圍，看似恍惚曖昧女體，隱喻恐懼與性的影射，在幽微詭譎突兀的空間營造海味鮮腥的物件符碼，釋溢出純粹官能的刺激；挑起燥動的敏銳神經。在靜物系列影像裝置作品中，透過留白與混亂對話，將自身的毛髮與複雜情緒緊密連結。

戴明德積累三十餘年的創作歷程，經常自喻為「化作一部製圖機器，以勤奮不懈的創作動能，以感性機體銘刻時代的容顏。」在他的「自畫像系列」中，指涉個人的生命記憶平行著時代，透過自畫像的自我檢視與喃喃自語對話而產生了自主性，一反過去逃避面對自我描繪的窘境與真實，終於為自己而畫，如解凍後回歸本然的自身，從這些與自己深度對話(畫)後的作品，成為自己未來的留言板或備忘錄，因為自己誠實，所以相信這樣作品終究能引起觀者的共鳴。

在他的繪畫意圖透過圖像演繹的實踐，銜接自我與社會主體，疊合生命記憶與政治的視差成像，以動態主體的實踐回應這塊土地在文化動態的生成境況氛圍。自畫像中以「獨唱」「找回國王的新衣」「數據與畫像」「變身派對」以隱喻自畫像的角色人臉蜘蛛的擬像化，性格與肢體做有趣的改造，成為畫面中不可言喻的視覺刺點與議題。

在他的繪畫意圖透過圖像演繹的實踐，銜接自我與社會主體，疊合生命記憶與政治的視差成像，以動態主體的實踐回應這塊土地在文化動態的生成境況氛圍。自畫像中以「獨唱」「找回國王的新衣」「數據與畫像」「變身派對」以隱喻自畫像的角色人臉蜘蛛的擬像化，性格與肢體做有趣的改造，成為畫面中不可言喻的視覺刺點與議題。

戴明德對他當前的「自畫像」系列投入表現已近癡狂，近日在嘉義鐵道藝術村為消失拆解而創作「偽釘子戶」非典個展，做了一場與駐點二十年的空間辭別的儀式，完全以自畫像圖式，辯證情感，空間ˋ自畫像圖像的言說關係，自發性的書寫與手寫塗鴉描繪，連結這次的作品展現，「自畫像」的面貌特質更為深化與彰顯，從材質的細緻層次及圖像語彙的低沉與綿延細調，畫像自述本身的徵象符碼，背後情感暗喻著生命深藏的底蘊厚度。「臉部辨識」以同款畫像視角，以不同造型條碼認證，在線條與造型扭曲變形結構多元呈現下，與箭頭方向線體墨韻相映合，猶如一套自動臉部辨識圖鑑網路。

「同行」作品，接續三十年前以她為主題的孕婦作品相聯結，家是自畫像背後的結構鋼樑，同行背後的情感指涉，有電塔般的電容波度，畫室空間意象及核武威力的影響震度。「帶我上月球」「找回國王的新衣」「數據與畫像」，彌補了許多無法實現的現實，也是無以表現的真實，僅以自畫像系列自我解嘲自我消解，透過圖中亂髮接受微風吹拂。