王昱珊 WONG Yuk Shan

1995年生於香港,現於此地創作。2018年畢業於香港中文大學,主修藝術,副修中國語言及文學。 主要以中西繪畫、速寫、文字、錄像等作為創作媒介,探索人的處境狀態與關係距離,以及人在本質上之理性與感性混摻的複雜狀態。

她以「人」作為關注範疇,從對人的觀看方式、心理狀態、行為詮釋等,用各媒介創作處境人像和偶發速寫,發現人類的共通性。

Born in Hong Kong in 1995, where she currently works. Yuk Wong graduated from The Chinese University of Hong Kong in 2018, with a major in Fine Arts and a minor in Chinese Language and Literature. ​​

She mainly focuses on Chinese and Western painting, sketching, text, and video as the medium of creation, exploring the state of the human condition and relationship distance, and the complex state of the mixture of rational and emotional in human nature.

She focuses on ” Human beings ” and uses various media to create situational portraits and impromptu sketching to discover humans’ commonality from the perspective of their viewing style, psychological state, and behavioral interpretation.

 


 

心血來潮的蒙太奇

 

寫生速寫至數碼繪畫的思考

進入數位時代,各種媒材均出現了不同面向的轉型,繪畫語言亦然。
我的創作由寫生速寫、書法訓練和寫意水墨作為起始。從觀看和感知對象物的存在,理解自身與對象物的關係;選取和提煉對象物形軀以外的精神面貌;捕捉瞬間閃現腦海的念頭和畫面;下筆時的果斷和表現力等,當中所著重的即時性、臨場感、表現力等均是我所重視的繪畫元素。我亦從以上創作方式轉化至創作數碼繪畫裡,嘗試從中保留且放大這些速寫語言的特質,包括筆觸的速度、力度、軌跡等,以呈現在完整度和可讀性較高和較豐富的畫面上。

在數碼繪畫的語言轉換下,各異尺寸和毛質的畫筆轉為一支電子筆,而油掃(Brush)則是可供選取的罐頭樣式,使得繪畫痕跡成了「痕跡效果」而不是「痕跡本身」。雖然一定程度上可視之為這種媒材的限制,但同時亦讓我反思繪畫語言於當代的理解:繪畫是否必須經由畫布/筆刷/顏料/刮痕等,配合成一件能觸碰的實體畫本,才能成之為一幅繪畫?再者,完成數碼繪畫後能添加後製工作,以色相、飽和度、明度等直接調整畫面,過程如電腦製圖執相,如此的後期工作又是否能歸納為繪畫一部分?

 

心血來潮的蒙太奇

時空/記憶/聲畫 - 重疊
結構/段落/敍述 - 錯置
因果/邏輯/時序 - 組合
剪接/氛圍/節奏 - 跳脫

 

人的處境

我很在意人的處境狀態、精神情緒和關係距離,這些狀態與距離留有一定的曖昧空間與灰色地帶。我的創作會以自身的經歷作為其中一種出發點,透過記錄與他人的相處、建構虛擬故事、輯錄電影片段等等作為素材,試圖在創作中勾起集體的共感經驗與狀態,探索人在本質上的共通性。

 

再唔記低就會永遠忘記

記憶並不可靠,我們可為之植入、改寫,又會不知不覺的忘卻。
有時翻閱起床後即時記錄夢境的備忘錄(對啊所以那稱作備忘錄),那些內容及文字鋪排使我感到陌生,陌生得像是在窺看他人的夢境一樣。至今我已忘掉了成千上萬件事,當中有部分是我曾認為重要得不可撼動的,也有想要忘掉卻總忘不了的,惟如今都記不起來了。

所有事物大概都會走向終結,就算以為會永遠存在或殘留的,也會有消亡的一天。我傾向將那些曾跟自己產生過關係的事物/記憶/情緒/感覺,以各種形式記錄與表達下來, 不僅是為了證明其曾經存在,更是為了讓自己在存活下去的路程上免於麻木和習慣,也望能以這一代人之一的身份將痕跡留存下來。

 

具象至抽象的轉向

過往對物象較具象的呈現手法,主要靠外觀與形體的層次上去理解對象物,但如今我所追問的是輪廓以外,形體之下的,是怎樣的精神狀態與面貌。因此便開始嘗試脫離形軀的限制,轉向感知對象物的內在狀態本身。

此外,其他媒介的創作方式亦有影響到現在創作的過程和路向。從過去訓練/創作書法(從楷書至行草書體)與水墨(從工筆至寫意)的過程裡,所提取到的是要將事物的形態抽絲剝繭,去除過剩的筆觸,而選取能精簡地呈現物象更本質的部分。這樣的工作方式,在行為上是減法過程,而在對物象理解和認知的精神層面則是省略後的提煉過程。

 

創作與生活

食飯交租交通日常,生活總要過,買木方畫布顏料做創作都要錢。曾經每日諗得最多就係點樣搵到多啲錢,後來返過全職工作,解決經濟壓力所轉換而來係失去時間同心力,無多餘力氣梳理思緒或組織想法,久而久之對生活細節少左敏銳嘅洞察力,個段時間我好質疑自己係咪有足夠定力同信心去繼續做創作。

自己生活嘅地方同世界各地都發生種種人禍,生活好沉重,生命好沉重,面對苦難時只想好好過活,想好好做人。最緊要飲水坐直,好好運動,人無事先做到世界冠軍。

 

 

Montage on a Whim

 

Reflections on Sketching to Digital Painting

In the digital age, various languages have undergone different transformations, and so has the language of painting.

My creation starts from sketching, calligraphy, and Chinese Ink Painting (Xieyi / Expressive style), and my paintings are based on the following principles: from observing and perceiving the existence of the object, understanding the relationship between oneself and the object, selecting and refining the spiritual aspect of the object beyond the physical form, capturing the thoughts and images that come to mind in a flash, and the decisiveness and expressiveness of the brushstroke.

From the above creation method to digital painting, I try to preserve and amplify the characteristics of these sketching languages, including the speed, strength and trajectory of the brush strokes, in order to present them on a more complete and readable and richer surface.

Under the language of digital painting, brushes of different sizes and textures are transformed into an Apple pencil, while the brushes are some selectable effect, making the painting marks into ‘trace effects’ rather than ‘traces themselves’. Although it can be regarded as a limitation of this medium to a certain extent, it also makes me reflect on the contemporary understanding of the language of painting:

Does a painting have to be a physical painting that can be touched by a canvas/brush/paint/scratch, etc., to become a painting? Moreover, after completing the digital painting, post-production work can be added to directly adjust the picture in terms of hue, saturation, brightness, etc. The process is like computer graphics execution. Can such post-production work be classified as part of painting?

 

Montage on a Whim

Superposition – Spatio-temporality / Memory /
Audio-visual
Dislocation – Structure / Passage / Narrative
Combination – Causality / Logic / Chronology
Breakaway – Jump-cut / Atmosphere / Rhythm
Human Condition

My works are concerned with the human condition, mental and emotional state, and relationship distance, which leave a certain ambiguity and a grey area. By recording my own experiences, constructing virtual stories, and editing film clips, I attempt to evoke a collective experience of empathy and state of mind in my creations, thus exploring the inherent commonality of people.

 

Before it Fades to White

Memories are unreliable things that we can implant, rewrite, and unknowingly forget.

Sometimes when I look at the memos that I wrote down about and after dreaming, the content and layout of the words feel foreign to me, as if I were peering into someone else’s dreams. I have forgotten thousands of things so far, some of which I once thought was incredibly important, and some of which I wanted to forget but never could, but I can’t remember any of them now.

Everything will probably come to an end, and even those that I thought would last forever or remain will one day die out. I tend to record and express in various forms those objects/ memories/ emotions/ feelings that have been related to me, not only to prove that they once existed, but also to save myself from being numb and habitual while surviving, and hopefully to keep the traces as one of this generation.

 

From Figurative to Relatively Abstract

In my previous approach to the representation of objects in a more concrete way, I mainly relied on the appearance and form of the object to understand it. However, what I am asking now is what kind of spiritual state and appearance lies beyond the outline and beneath the form. Therefore, I attempted to depart from the limitations of the body to perceive the inner state of the object itself.

Besides, the creation of other mediums has also influenced the current process and direction of creation. From the past training/creation of calligraphy (from regular script to cursive) and ink and wash (from Gongbi to Xieyi), what is extracted is to remove the excess of brush strokes and select the part that can concisely present the essence of the object. This way of working is a process of subtraction in terms of behavior and refinement after omission in terms of the spiritual aspect of understanding and cognition of the object.

 

Creating and Living

Money is always needed to make a living: buying creative materials, food, transportation, rent, and … I used to think most about how to make more money every day. Still, when I started working full time, I lost my time and energy to organize my thoughts or ideas, so I was less perceptive to the details of life for a long time, and I questioned whether I had enough strength and confidence to continue my creative work.

Life is hard. When faced with the hardships of the society, I just want to live a good life and be a better human being. Drink more water, sit up straight, exercise well. Only when you live well can you achieve the championship of the world.

©2021 LEE KAI CHUNG & SHEN JUN. ALL RIGHTS RESERVED