寫 的 實 在些 la casa del superrealismo

二月 初春  晴  十五號和柯小如搭高鐵北上馬德里

2009arco (拱展)今年展期一樣 畫廊少了

但多了一個場館 供給邀請藝術家

共分為幾個部份

SOLOPROJECTS

EXPANDED BOX

CINEMA

PERFORMING ARCOPANORAMA INDIA

 策展群

只有一位是來自西班牙巴塞隆納

其它地方  零

看樣子拱展國際化還不是西班牙人自己決定的 

有好有壞

導覽上寫著  誠品

策展人ＭＡＲＩＡ LNES RODRIGUEZ邀請了崔廣雨(誠品)

在誠品攤位呆了一會

崔廣雨的作品在展什麼沒太多注意

倒是與張小姐話了一下西班牙留學的生活

對何孟娟的作品感到深刻 不是在台北 反而是在西班牙

對影像 看到了許多新意

對平面 知道數位影像輸出  是主流

對繪畫 除了無形式抽象 還是 無形式抽象

對寫實  除了韓國藝廊 幾乎找不到 可憐

對於sevilla  只有一間畫廊入選 更可憐

總結

對於 今年arco 與其說是商業畫廊藝術博覽會不如說 更像一次雙年展的演出

對於 SEVILLA 幾十家畫廊只能說完全與當代絕緣

對於 自己  加油

Fang Lu was born in 1977 in Kaohsiung City, Taiwan. He moved to the USA when he was four and lived there until the age of ten, at which time he and his family returned to Taiwan. Lu has lived and worked in Spain for the past five years

Lu’s paintings are visually stunning and consistently engaging. His works combine areas of the utmost precision and realism with others which have been blurred to the extent that the bodies depicted are barely decipherable; faces and forms are distorted and warped in a manner reminiscent of the work of Francis Bacon.

Set against blankets of monochrome black, Lu’s figures appear apparitional. Like fragmented memories, we see hazy outlines and suggestions of form; parts are clear whilst others remain elusive. Lu became fascinated by the blurred effect in the paintings of Gerhard Richter when visiting Germany in 2006 and Richter’s influence is clearly manifest in these works; in blurring some areas rather than others, Lu encourages us to scour the whole canvas in order to notice the details he chooses to include.

The significance of the use of purple in the paintings relates to Lu’s own personality. Specifically, the purple tone of the paintings serves to demonstrate the tension Lu feels between his outward behaviour and his inner self. His principally Asian upbringing instilled within him a reserved manner and Lu believes that this cultural system suppressed his true feelings and distorted his temperament. However, despite this reserved upbringing, Lu still feels a wild fire of imagination continually burn within him. Thus, the Purple Series is a direct result of this conflict Lu experiences between his outer blue of conformity and his inner red of freedom and creativity; it is a mixture and fusion of these binary traits in his personality.

The vast eyes that Lu paints reinforce this notion of hidden feelings beneath outer appearances. Traditionally, eyes represent gateways to an honest and true portrayal of a person’s character. However, it remains unclear whether the eyes Lu paints are meant to act as windows into the souls of his subjects or mirrors for our own. The retinas which stare out from Lu’s huge canvases compel us to return their gaze, to lose ourselves in the depths of the painted canvas. Thus, just as the hands that grasp each other in Need suggest the significance of proximity and tactile contact between bodies, Lu’s eyes encourage us to feel a visual bond and intimacy to the faces we see before us.

                                                                                                                         Tomas Bates