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創作是很美好的能量，它能夠豐富美術史的脈絡，也能讓人類的文明社會有了符號象徵。對於個人更有心理療癒的作用，如同大自然之於人類的影響。圖像是蘊藏秘境的符碼，「屋下?花」是一種生活的觀察與探索，失落/重建社會價值的過程，表面上描繪的是花的意象，如果止於描繪的認知，那它就是描繪，如果它是一層一層的提問與解答，命題就是環環相扣追尋產生的疑問，創作的過程便是一生永無止境的探索。Gustav Klimt 的作品用人類的軀體來探索死亡與生命，而年輕女性與嬰孩的身體藏在花朵圖案的床單裡，用新生/老年、男/女、色彩/無彩度色彩來描繪生命的所有面象，將死亡與生命(1908年)並置於畫面左邊與右邊，無疑地各式各樣花的色彩與造型象徵著人間的歡愉。在「屋下的花」的畫面裡初生的花/凋萎的花並置，從一簇花的花開/花謝全都記錄於同一畫面上。隱涉了花生命的長度於畫面的空間。
This is an observation and an exploration. Visitors might just as well chant memories -- Chia-ling Wu’s self-preface of creations.
The creating and preparation for this exhibition takes Wu a time span of three years. She created by employing mixed materials and unconsciously regards her as the representative of modern women. The imprints of frictions and the textures of twined cotton threads imply the monologue about female egos and have a dialogue to female role models. The Hakka printed cloth echoes the traditional consciousness generally identified in the modern life. In the pattern hides women’s expectations of the marriage. The common wildlife plant around the kitchen is a flower blooms in another flower, and this signifies endless energies. This exhibition allows modern women to rethink the problem of the identification.
Creating, a wonderful energy, not only enriches the context of the art history, but also produces symbols in human civilized societies. Creating, like the nature, has the psychological therapeutic effects on individuals. Patterns are the symbols concealing the quodis arcana. This exhibition is an observation and an exploration of our lives, and it is a process of losing and rebuilding social values as well. In other words, this exhibition seemingly depicts images of flowers; however, it conveys inwardly the issues of observation, creating, propagation, and subsistence. If our cognition on the limited creating is just the depiction, then, creating will be the depiction only. If creating refers to constant questions and solutions, and the motif is the question produced during the process of the interlocking pursuance, then, creating will fulfill the endless exploration of our lives. Gustav Klimt employed human bodies to explore death and life. Bodies of young women and children were hidden in the flowery bed sheet. Gustav described all aspects of our lives by using newborn vs old, men vs women, and colors vs colors without chroma. Gustav also respectively juxtaposed death and life on the right side and the left side of the picture. Undoubtedly, various colors and shapes of flowers symbolize the mundane pleasures. In the appearance of “Flowers in My Garden”, newborn flowers and withered flowers were juxtaposed. The blossom and the fading are recorded in the same picture, and this implies the length of time.
Furthermore, the creator finds out that underlying contour lines exist in the patterns on the roof tiles and the walls of halls, and even in daily commodities such as the printed cloth and the patchwork. Thus, “Flowers in My Garden” not only refers to the common wildlife plant in the Hakka settlements, but also refers to the core value that the nature is the source of creating. These common wildlife plants are the referential totems, and they symbolize the aged floral bricks on the roof as well. Besides, these plants represent the rustic side of the Hakka and are blended into the traditional festivals to enrich the Hakka elements.
For Chia-ling Wu, the printed cloth, wildlife plants, and aged floral bricks are nutrients offered by her family members. Her mother, a biology teacher, made clothes by using rags and taught her children to recognize plants. Wu’s grandfather is a master architect, and the bricks on the roof are his incarnation. We might just as well chant the flowers in our memories by starting from an observation and an exploration.
My Memories of Flowers in My Garden-- Chia-ling Wus Solo Exhibition of Mixed Materials
|( 心情隨筆｜校園筆記 )|