Gene Paul Martin: Do You Do It? Or Does It Do It?
展覽時間 Duration｜July 6 - August 3, 2019
開幕茶會 Opening Reception｜15:00, July 6, 2019
藝術家將親臨現場 The artist will be present.
地點 Venue｜10056 台北市中正區金山南路一段67巷5號1樓 No. 5, Lane 67, Section 1, Jinshan South Road, Zhongzheng District, Taipei 100
他的作品裡沒有身世背景，缺乏性格的「新生物」，使他們成為馬汀在「孤立」中的完美伴侶 ，馬汀企圖從這樣的畫面，讓觀畫者得以跳脫身邊的繁鎖易事， 從日常生活中不重要的細節逃脫，以中立和客觀重新閱讀其作品 。然而，作品和觀眾之間的互動是個人的，他作品的美妙之處在於這些像徵中立亦或孤立的局外人，促使他的故事版本得以和觀眾的觀看結果完全不同。這樣模式就是馬汀一直信仰的關於擺脫人類交往的負擔，實踐一種形式上亦或精神上的獨立。
Do You Do it? or Does it Do you?
The first paragraph of John Berger’s “Ways of Seeing” sums up the most basic and the first of the human’s sense to awaken----eyes: “Seeing comes before words. The child recognized before it can speak.”
Children can see the most imaginative, original, and honest paintings, but few children's paintings can enter any professional place, art book, institution, gallery, museum or all other types of academic systems. Why? Because people are starting to indulge in meaning, etymology, and rigorous structured thinking systems, or ironic artificial manufacturing environments. However, the famous artworks that find the path of criticism, recognition or praise still begin with the most basic practice—that is, through seeing and observing.
The popular Filipino artist, Gene Paul Martin, was born in Manila in 1989. He has a unique perspective of young artists, with bold and rich color and unscrupulous visual content, injecting a vitality into the flat paintings that contemporary art is considered to be slightly boring, achieving a unique style. The universally defined visual effect is a frustrating product for Martin, who appears around us every day, but only creates static noise. Through Martin's work, let us leave the original logical framework. This is an unpredictable but enjoyable change that comfortably breaks the barriers of common aesthetic definition. His work revolves around his reflection on the overall environment, analyzing and recreating it in a third-person perspective. His works come from the transformation of external world and self-thinking. He analyzes and recreates it in a third-person perspective, or what he calls "another frequency," which seems to be a process driven by transcendence. Therefore, his paintings do not actually refer to a specific object or image; on the contrary, he attempts to create chaotic and random images outside the real world, or even the images themselves, are leading him to make them.
Gene Paul Martin’s New World
Martin, who graduated from Far Eastern University in Manila in 2013, grew up in a complex and diverse generation, but his mature made him to be a self-contained creator, when he faces the torrent of life, he can avoid the simple choice of attaching to others, using an independent perspective and the individual to spread the world through his new creatures, or the "outsiders" he described, then spread out his self-painting system.
His “new creature” has no background in life, lacking of the past and no future, making them being the perfect companion for Martin’s "isolation." From his paintings, Martin tries to let the viewers get rid of the complicated things around them, escape from the unimportant details of daily life, and re-read his works with neutrality and objectivity. However, the interaction between the work and the audience is personal. The beauty of his work is that these outsiders, either neutral or isolated, have made his story version completely different from the audience. This is the way that Martin has always believed in getting rid of human interaction and practicing a formal or spiritual independence.
As Martin’s confession when he graduated in 2013: “Collecting Fragments is basically about venturing through isolation in my studio, where I have limited sources of inspiration and experiences. It is an act of collecting fragments of past experiences and putting them together to make a whole new story.”
Cave painting as the cornerstone of creation
The pursuit of abstract thinking and symbolic meaning in human beings has intensified in the era of consumption and capitalism. It seems that the psychology needs to be sufficient by it. At this time, art is a subsidiary, and the introduction and concept of the works is the main point. The pursuit of the meaning of the words confuses that we can gain all understanding through pure observation. A large number of inaccurate contents and symbolic symbols are far from enriching the spirit, and ultimately, we are more and more out of reality.
In his creation, Martin has put question about the "meaning" of the above-mentioned world pursuits. Therefore, his work does not point to any specific content or meaning, and cave painting has become an important foundation of Martin's creation. For him, cave painting is the most primitive, and the people who created them do not intend to make it "art"; for such a painting, either for records or for faith, the creator is honestly placing himself in the natural environment, and the painting tells about its own relationship with the surrounding. Martin tried to reproduce this humility in his creations, not converging with the god-making movements and illusions that were prevailing in contemporary art, rather than sticking the paintings to the boring meaning. This non-meaningful existence may be a dilemma that ultimately leads to problems of artistic purpose or essence, or becomes a question raised in the exhibition, but on the contrary, it also presents a fact: Sometimes what we see is it, the work itself, is Martin's understanding of the surrounding environment; accepting what he observes, that is, there is no need to give it any definition. Watching Martin's paintings, it is not difficult to find that today's virtual surplus world and its observations in real life collide on its canvas, inspiring a near-original visual content, allowing the viewer's eyes and thinking get lost in the world created by him; Strong and rich imagination makes the painting undefinable and unclassified, the narrative is abandoned, and the meaning only points to the work itself.
Do You Do it? or Does it Do you?
Martin has provided us with an opportunity to glimpse in the world he has watched. He believes that there is ubiquity, beginning and ending, entering and leaving, and a never-ending cycle. This exhibition attempts to open a door in the real world and Martin's world through different painting practice expression systems. Nearly breaking the frame of common sense, the unreasonable and indistinguishable figurative objects are mixed with sharp and abrupt geometric images, shaping the unpredictable summoning and improvisation of unknown things. He created a vast and thriving imaginary maze in his paintings, in which the mountains are faintly visible and the sloping flat horizon seems to break the endless vacuum. The outlines of palm trees can often be found to bring the audience closer to the tropics. In fact, the surrounding environment is not easily recognizable, as if it were in a chaotic twilight time. The background sky is largely dark, with the haze of the end of the world. These signals make up episodes in his inner world, as well as different kinds of conflicts and fierce intersections. The layering of these chaotic reality combines into memories, relationships, emotions and other different readings. The new life created by him in different forms will be split into other forms like the random code in the encrypted information. The connection through his flight line maps the unconscious, avant-garde dream, and his painting is the abstract reality. Martin uses the boldest hand-painted improvisation, and the exquisite opposite symbol of the three-dimensional illusion, showing his skill in creating a sudden combination of life, to stimulate a brand-new world.