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董心如 畫展"微觀"
非常廟藝文空間 VT Artsalon
Duration : 2008/3/1-2008/3/29
Add : 台北市伊通街47號B1
Tel : 02-2516-1060
此岸亦彼岸--董心如的繪畫
文/郭昭蘭
「以人體為比喻，手上的食指、中指、無名指、尾指代表動物，而大拇指就代表植物。人類是在離心臟最遠的中指尖端。愈接近手掌下緣的生物就愈低等，一直往下到手腕的地方，血管聚集成一條，這裡是菌類和微生物。從這裡往下發展，就無法分辨到底是植物還是動物了，可是這下面還有許多生物，經過手臂，通過肩膀……然後在這裡(心臟)的東西，就叫作蟲，或是綠體。這些都是近似生物的原生命，不一定有具體形象。」(摘自《蟲師》第一集〈綠之座〉)
感知不再以身體作為它的底線，馳乗的視界不斷延伸能見的次元。宇宙不斷運轉，生機就在靈動之間。
董心如繪畫的畫面空間非藝術家無中生有的純然心象也不是絕對理性的結構分割，它遠遠召喚宇宙太初之原型，深遂而難以形象測度。飄邈幽微的幻影總是曖昧徘徊在形象或非形象、動物或植物、符號或形體、坎坷或流暢、再現的或即興的、虛與實的化境之中。畫面諸多看似矛盾對立、異質並置的大場景與小景緻，彼此交融、互為表裡；其中可見大宇宙的大規模：有明亮的光流自畫面深遠處緩緩流出(「識界2007-1」)，也見畫家計較塗抹的反覆推擦：糾結而緊迫
；有時神來之一筆，平衡了畫面，卻不依賴抽象表現主義之「偶發與意外」(「識界2005-1s」)，有時這神來之筆喚起樹葉枝幹聯想(「微觀2006-1S」)、不過亦常常是藝術家在場的明証(「微觀2006-1S」左下方的藍綠色線條)。畫家在此提供的豐富場景，可以讓人棲息、前進、迂迴，因此觀畫的歷程是歷時性的。畫面空間則是脫時間軸的象徵化場域：今古可對應，意義與形象可對位。自然在此演繹著渾沌但亦有序的勃勃生機，繪畫則履行她對人類最後的美好承諾。
1998 年前往紐約求學前，董心如更多是水墨的創作者。一系列以城市建築、破舊老街為題材的「微象˙塵界」(1985-1990)
，讓她以第一名的榮譽畢業於台北藝術大學，她在水墨方面所下的功夫是豐厚的。然而，接觸了紐約抽象表現主義之後，藝術家開始轉向以方型的油畫布為主的抽象畫。從最早的「山海經」系列(1992-1996)的巨碑山石意象、到「境痕」系列(1995-1998)更多書寫式線條、近乎巧奪天工的手感、「心影」(1998-2002)的花朵意象、直到最近的「微觀」系列(2007-)，這一番由抽象表現主義所導引出來的抽象繪畫歷程，可以說，董心如與紐約抽象表現主義維持著的是越來越放鬆的關係，反倒是東方水墨的宇宙觀、「一沙一世界，一葉一菩提」的觀念，藉著方形的油畫布漸漸地浮出了檯面。正是這種悠然出入異文化的自在，以及勇於處理對抗性繪畫語言的態度，使我們得以在董心如的繪畫中體驗各種繪畫語言的妙處，既雄渾亦幽微。
Fungibility of Space--Paintings of Tung Hsin-Ru
By Jau-lan Guo
"Using the human body as the metaphor, our index finger, middle finger, ring finger, and little finger symbolize animals, and the thumb symbolizes plant life. Human being are located at the tip of the middle finger, farthest away from the heart. Moving forward to the lower edge of the palm, we find lower and lower forms of microorganism, until we reach down to the wrist, where a multitude of blood vessels merge into one. They are the fungi and microorganisms. Further down, distinctions between animals and plants blur and fade. Even so there is still life beyond this point, pass through shoulders... and then reach close to your heart. These creatures are the Mushi. They are life as pure form. Their shape and physical appearance are ambiguous." (Excerpt from "Mushi Shi-Bug Master", Volume I, "The Green Base".)
Physical Body is no more the borderline of perception; galloping vision continues to expand the horizon of visible dimension. Universe runs incessantly, and vitality lies amidst its swift movements.
The spaces through Tung Hsin-ru’s paintings are not purely mental images fabricated by artists. Neither are they dissections of rational structures. They are summons of the distant prototypes of the primitive universe, profound and unfathomable with forms. The mirages, subtle and intractable, always enigmatically hover between forms or images, animals or plants, symbols or reality, frustrations or dexterity, representation or improvisation, rituality or reality. The canvases teem with seemingly contradictions and confrontations, large landscapes in heterogeneous coexistence with small decorations, interacting with each other in substance and in form. Among them, one can envision the grand scale of an immense universe: shining flows of light emerging slowly from the inner depth of the canvas ("World of Sense 2007-1"), but also painter's repetitive negotiations and rubbing: tightly intertwined and entangled, balancing the space with genius strokes here and there without relying on "incidence and accidence" of the Abstract Expressionism ("World of Sense 2005-1"). Sometimes these genius strokes invoke the image of tree branches ("Observe Microcosm 2006-1"), but more often they are merely proof of the presence of the artist (blue-greenish lines in the bottom left of " Observe Microcosm 2006-1"). The painter has offered luxurious sceneries here for the viewers to rest, advance, or meander, such that the viewing experience seems diachronic. The space of the canvas is a symbolic field cast off the axis of time: the now and the past reflect on each other, and the substance and the form match. Nature here evolves nebulous but orderly vitality. Painting performs the final benevolent promises she makes to humanity.
Before heading to New York in 1998 to study, Tung Hsin-ru worked more on Chinese ink and brush paintings. She graduated from Taipei University of Arts egregious cum laud with a series of Chinese paintings (1985-1990) that depicted urban architecture and run-down old streets. Her efforts on Chinese paintings are plentiful. Nonetheless, the artist turned her efforts to abstract paintings, primarily square-shaped oil paintings, after exposures to New York Abstract Expressionism. From the images of giant monuments and mountain rock formations in the very early "Shan-hai Ching" series (1992-1996), to the ingenious hand-writing-styled lines in the following "Trace of Realm" series (1995-1998) and the images of flowers in the "Image of Mind" series (1998-2002), until the recent " Observe Microcosm" series (2007-), Tung Hsin-ru went through a period of creative journey toward abstract painting, initiated by the abstract expressionism. However, It can be said that Tung Hsin-ru has established a more and more relaxed relation with the NY Abstract Expressionism. On the other hand, it is the view of the universe embraced in Chinese paintings, the concept of "Through one sand can see the world; through one leaf can reach Bodai (the wisdom of the reality-nature). ", that has slowly emerged through her paintings. It is precisely her gracious ease in alternating between different cultures, and her courage in handling confrontational languages of painting, that allows us to enjoy the subtly of varying painting languages through her paintings, grandeur and majestic, and yet at the same time minuscule and solemnly peaceful.
非常廟藝文空間 VT Artsalon
Duration : 2008/3/1-2008/3/29
Add : 台北市伊通街47號B1
Tel : 02-2516-1060
此岸亦彼岸--董心如的繪畫
文/郭昭蘭
「以人體為比喻，手上的食指、中指、無名指、尾指代表動物，而大拇指就代表植物。人類是在離心臟最遠的中指尖端。愈接近手掌下緣的生物就愈低等，一直往下到手腕的地方，血管聚集成一條，這裡是菌類和微生物。從這裡往下發展，就無法分辨到底是植物還是動物了，可是這下面還有許多生物，經過手臂，通過肩膀……然後在這裡(心臟)的東西，就叫作蟲，或是綠體。這些都是近似生物的原生命，不一定有具體形象。」(摘自《蟲師》第一集〈綠之座〉)
感知不再以身體作為它的底線，馳乗的視界不斷延伸能見的次元。宇宙不斷運轉，生機就在靈動之間。
董心如繪畫的畫面空間非藝術家無中生有的純然心象也不是絕對理性的結構分割，它遠遠召喚宇宙太初之原型，深遂而難以形象測度。飄邈幽微的幻影總是曖昧徘徊在形象或非形象、動物或植物、符號或形體、坎坷或流暢、再現的或即興的、虛與實的化境之中。畫面諸多看似矛盾對立、異質並置的大場景與小景緻，彼此交融、互為表裡；其中可見大宇宙的大規模：有明亮的光流自畫面深遠處緩緩流出(「識界2007-1」)，也見畫家計較塗抹的反覆推擦：糾結而緊迫
；有時神來之一筆，平衡了畫面，卻不依賴抽象表現主義之「偶發與意外」(「識界2005-1s」)，有時這神來之筆喚起樹葉枝幹聯想(「微觀2006-1S」)、不過亦常常是藝術家在場的明証(「微觀2006-1S」左下方的藍綠色線條)。畫家在此提供的豐富場景，可以讓人棲息、前進、迂迴，因此觀畫的歷程是歷時性的。畫面空間則是脫時間軸的象徵化場域：今古可對應，意義與形象可對位。自然在此演繹著渾沌但亦有序的勃勃生機，繪畫則履行她對人類最後的美好承諾。
1998 年前往紐約求學前，董心如更多是水墨的創作者。一系列以城市建築、破舊老街為題材的「微象˙塵界」(1985-1990)
，讓她以第一名的榮譽畢業於台北藝術大學，她在水墨方面所下的功夫是豐厚的。然而，接觸了紐約抽象表現主義之後，藝術家開始轉向以方型的油畫布為主的抽象畫。從最早的「山海經」系列(1992-1996)的巨碑山石意象、到「境痕」系列(1995-1998)更多書寫式線條、近乎巧奪天工的手感、「心影」(1998-2002)的花朵意象、直到最近的「微觀」系列(2007-)，這一番由抽象表現主義所導引出來的抽象繪畫歷程，可以說，董心如與紐約抽象表現主義維持著的是越來越放鬆的關係，反倒是東方水墨的宇宙觀、「一沙一世界，一葉一菩提」的觀念，藉著方形的油畫布漸漸地浮出了檯面。正是這種悠然出入異文化的自在，以及勇於處理對抗性繪畫語言的態度，使我們得以在董心如的繪畫中體驗各種繪畫語言的妙處，既雄渾亦幽微。
Fungibility of Space--Paintings of Tung Hsin-Ru
By Jau-lan Guo
"Using the human body as the metaphor, our index finger, middle finger, ring finger, and little finger symbolize animals, and the thumb symbolizes plant life. Human being are located at the tip of the middle finger, farthest away from the heart. Moving forward to the lower edge of the palm, we find lower and lower forms of microorganism, until we reach down to the wrist, where a multitude of blood vessels merge into one. They are the fungi and microorganisms. Further down, distinctions between animals and plants blur and fade. Even so there is still life beyond this point, pass through shoulders... and then reach close to your heart. These creatures are the Mushi. They are life as pure form. Their shape and physical appearance are ambiguous." (Excerpt from "Mushi Shi-Bug Master", Volume I, "The Green Base".)
Physical Body is no more the borderline of perception; galloping vision continues to expand the horizon of visible dimension. Universe runs incessantly, and vitality lies amidst its swift movements.
The spaces through Tung Hsin-ru’s paintings are not purely mental images fabricated by artists. Neither are they dissections of rational structures. They are summons of the distant prototypes of the primitive universe, profound and unfathomable with forms. The mirages, subtle and intractable, always enigmatically hover between forms or images, animals or plants, symbols or reality, frustrations or dexterity, representation or improvisation, rituality or reality. The canvases teem with seemingly contradictions and confrontations, large landscapes in heterogeneous coexistence with small decorations, interacting with each other in substance and in form. Among them, one can envision the grand scale of an immense universe: shining flows of light emerging slowly from the inner depth of the canvas ("World of Sense 2007-1"), but also painter's repetitive negotiations and rubbing: tightly intertwined and entangled, balancing the space with genius strokes here and there without relying on "incidence and accidence" of the Abstract Expressionism ("World of Sense 2005-1"). Sometimes these genius strokes invoke the image of tree branches ("Observe Microcosm 2006-1"), but more often they are merely proof of the presence of the artist (blue-greenish lines in the bottom left of " Observe Microcosm 2006-1"). The painter has offered luxurious sceneries here for the viewers to rest, advance, or meander, such that the viewing experience seems diachronic. The space of the canvas is a symbolic field cast off the axis of time: the now and the past reflect on each other, and the substance and the form match. Nature here evolves nebulous but orderly vitality. Painting performs the final benevolent promises she makes to humanity.
Before heading to New York in 1998 to study, Tung Hsin-ru worked more on Chinese ink and brush paintings. She graduated from Taipei University of Arts egregious cum laud with a series of Chinese paintings (1985-1990) that depicted urban architecture and run-down old streets. Her efforts on Chinese paintings are plentiful. Nonetheless, the artist turned her efforts to abstract paintings, primarily square-shaped oil paintings, after exposures to New York Abstract Expressionism. From the images of giant monuments and mountain rock formations in the very early "Shan-hai Ching" series (1992-1996), to the ingenious hand-writing-styled lines in the following "Trace of Realm" series (1995-1998) and the images of flowers in the "Image of Mind" series (1998-2002), until the recent " Observe Microcosm" series (2007-), Tung Hsin-ru went through a period of creative journey toward abstract painting, initiated by the abstract expressionism. However, It can be said that Tung Hsin-ru has established a more and more relaxed relation with the NY Abstract Expressionism. On the other hand, it is the view of the universe embraced in Chinese paintings, the concept of "Through one sand can see the world; through one leaf can reach Bodai (the wisdom of the reality-nature). ", that has slowly emerged through her paintings. It is precisely her gracious ease in alternating between different cultures, and her courage in handling confrontational languages of painting, that allows us to enjoy the subtly of varying painting languages through her paintings, grandeur and majestic, and yet at the same time minuscule and solemnly peaceful.
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