市民畫廊 雲崩石亂 書、印：相：李明創作展
活動訊息
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內容簡介
不受限於傳統書法、篆刻法度與流派約束，用輕鬆從容的態度重新看待，以盡情書寫放任刻印的創作思維，來面對這層層包裹的傳統「書」、「印」，並透過蘇東坡念奴嬌名句「亂石崩雲」為主軸，帶入現代藝術概念，參入裝置拼湊、數位輸出，轉化平面為立體，藉由光影投射、展場作品佈置的錯落組合，延伸變化視覺效果。 本展中，李明啓以一個從事水墨創作者的角度來闡述演繹書法與篆刻在傳統與現代之間如何開拓發展，而兩者在水墨的激盪結合之下又能有何種可能的：書、印別相。
Free from the constraints and rules from any school of traditional calligraphy and seal engraving, Lee engages himself in the artistic creation of these two traditional Chinese arts with great ease and comfort. In this exhibition titled, “Crashing Rocks and Clouds”, which is a famous quotation from the Ode of Red Cliff by Su Dong-po, the concept of modern art is incorporated while the mechanisms of installation art and digital output are also applied to enable 3D presentation of Lee’s works as well as diversified visual effects through the light projection and exhibit arrangement. In this exhibition, viewers can see how Lee, as an ink painting artist, explores the possibilities of calligraphy and seal engraving, both traditional and modern, and how the inclusion of ink painting into calligraphy and seal engraving can give birth to a diversified variety of facets for these two traditional Chinese art forms.
Free from the constraints and rules from any school of traditional calligraphy and seal engraving, Lee engages himself in the artistic creation of these two traditional Chinese arts with great ease and comfort. In this exhibition titled, “Crashing Rocks and Clouds”, which is a famous quotation from the Ode of Red Cliff by Su Dong-po, the concept of modern art is incorporated while the mechanisms of installation art and digital output are also applied to enable 3D presentation of Lee’s works as well as diversified visual effects through the light projection and exhibit arrangement. In this exhibition, viewers can see how Lee, as an ink painting artist, explores the possibilities of calligraphy and seal engraving, both traditional and modern, and how the inclusion of ink painting into calligraphy and seal engraving can give birth to a diversified variety of facets for these two traditional Chinese art forms.
序／導讀
高雄市美術館「市民畫廊」籌辦之意，乃基於高美館在「區域性」所扮演的責任與功能，鼓勵在地藝術家之創作及展出，以呈現高雄地區藝術生態及文化風貌。1997年規劃之初，著眼於高雄地區資深藝術家資料之累積與整理，計畫執行以「階段性」目標為設定之考量，以發掘高雄地區藝術資源為開端，針對個別藝術家作更真切與深入的了解，並藉由展覽規劃及資源之統合，彙整呈現高雄地區美術發展之基礎性架構。
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