基恩.保羅 ·馬汀:你創造它?它創造自己?

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

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約翰伯格在「觀看之道」的第一段總結了人類最基本和第一個被喚醒的感官——眼睛:「觀看出現在言語之前,孩子在開口說話以前就學會了。」

孩子們可以看到最富有想像力、原創、誠實的圖畫,但卻少有孩子的圖畫在任何專業場所,藝術書籍,機構,畫廊,博物館或所有其他類型的學術體系中。為什麼?因為人們開始沉迷於意義、詞源以及嚴謹的結構化思想系統,或是具有諷刺意味的人為製造環境。然而那些找到批評,認可或讚美之路的著名藝術品,仍然始於最基本的實踐——即通過觀看與觀察。

菲律賓當紅藝術家基恩・保羅・馬汀,生於1989年馬尼拉。他具備年輕藝術家的獨特視角,以大膽豐富的用色、無所顧忌的視覺內容,將一股活力注入當代藝術被認為略顯無味的平面繪畫之中,成就獨樹一格的風格領域。普世定義的視覺效果對馬汀來說是讓人感到挫敗的產物,這種圖像每天出現在我們周圍,卻只會製造靜態噪音。透過馬汀的作品讓我們從原有的邏輯框架中出走,這是一個猝不及防但令人愉快的變化,舒適的打破了共同美學定義的障礙。他的作品來自於對外在與自身思考的轉化,以第三人稱視角、或是他所說的「另一種頻率」來分析並且再創它,這個過程像是由某種超越意識的力量牽引。因此,他的畫中其實並不具有特定所指或特定形象,而是試圖在現實世界之外所製造混亂與隨機的圖像,又或是圖像本身在引領其製造它。

基恩・保羅・馬汀畫中的世界 

在2013年才從馬尼拉的遠東大學畢業的馬汀,雖然是在繁複多元的世代下成長,但成熟的他卻以一個獨善其身自居的創作者,在面對生活的洪流中,避開趨從依附的簡單選擇,以一個獨立的觀點和個體將世界透過他筆下的新生物、鋪陳出自我的繪畫體系。然而這種新生物對他來說更像是純粹的圖像,而非特意創造出某種具有性格的事物。

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。 

承如2013年畢業時,馬汀即有的自白:「收集碎片基本上是在我的工作室通過孤立自己去進行冒險,而在那裡我的靈感和經驗來源有限。 這是一種收集過去經驗片段並將它們組合在一起以創造一個全新故事的行為。」經過了超過五年的實踐,著實在繪畫領域的探索中,逐漸指引出他預期並企圖給予觀者的獨立精神空間。

洞穴繪畫作為創作基石

 人類對於抽象思維及象徵意義的追尋在消費和資本主義時代下愈演愈烈,心理需要彷彿藉此得以充足,此時藝術品成了附屬,作品介紹與論述才是要角。對文字意義的追尋混淆了我們本可透過純粹的觀看所能獲得一切理解,大量不精確的內容物與符號象徵遠不足以充實精神,最終反倒使我們愈加脫離真實。

馬汀在創作中即對上述現世追求的「意義」丟出疑問,也因此他的作品並不指向任何特定的內容或意義,而洞穴繪畫則成了馬汀創作作品的重要基礎之ㄧ。對他來說,洞穴繪畫最為原始,創作它們的人無意使其成為「藝術」;這種繪畫或是為了紀錄或是為了信仰,創作者誠然地將自己置於自然環境之中,而以繪畫訴說其自身與周遭的關係。馬汀試圖在其創作中重現這種謙卑,不與當代藝術中氾濫的造神運動和幻象構築合流,而不將畫作拘泥於吝嗇無趣的意義。這種非意義的存在或許是一種困境,最終會導致藝術目的或本質的問題,或是成為展覽上被提出的疑問,但相反,它也同時呈現了一個事實:有時我們看到的就是它,是作品本身,是馬汀對周圍環境的理解;接受他所觀察到的東西,即不存在一定要給它任何定義。觀看馬汀的畫作,則不難發現當今虛擬過剩的世界與其於現實生活間的種種觀察在其畫布上發生碰撞,激發出一種近乎原始的視覺內容,讓觀者的眼睛和思維在他所創設的世界中迷失;強烈豐富的想像使畫作無可定義亦無從歸類,敘事被捨棄,意義也指向著作品自身。此種混亂與迷失,反倒更能激發觀者獨立的思辨。

Do You Do it? or Does it Do you?

馬汀為我們提供了一個在他所觀看到的世界裡驚鴻一瞥的機會,他所認為的存在無處不在,同時開始與結束、進入和離開,並且永無止境的循環。這次的展覽試圖通過不同的繪畫實踐表達系統,在現實世界與馬汀的世界中開闢出一扇門,近乎於破除常識的框架,不合常理、難以辨析的具象物件混雜鮮明突兀的幾何圖像,型塑出對未知事物不可預知的召喚和即興。他在繪畫創作中建立了廣闊和蓬勃發展的想像迷宮,其中山脈隱約可見,紛亂平坦的地平線,彷彿打破無盡的真空。時常可以發現棕櫚樹的輪廓,使觀眾更接近熱帶地區,事實上,周圍的環境並不容易識別,宛如身處混亂的暮色時分。背景天空在很大程度上是深色的,帶著世界末日的陰霾。這些信號組成他內部世界裡的小插曲,以及各種衝突、激烈交雜而成的形象。這些混亂現實的分層結合成了回憶、關係、情感和其他不同的讀物。由他所創造不同形式的新生命就會像加密信息中的隨機代碼一樣分裂成其他形式,通過他的飛行線連接起來映射出無意識、前衛的夢想,他的繪畫即為抽象的現實。馬汀通過最大膽的手繪即興創作,以及三維幻覺的精緻對立符號,展現他創造生命突變組合的技巧,以激發畫面再次成為一個全新的世界 。

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.