Yellow Bird and Leaves: Rose Wylie Solo Exhibition
紀錄片放映：展覽期間每週五、六、日下午五點（ 售票：NTD100，含免費 Rose Wylie tour ）
高齡81歲的羅思薇莉(Rose Wylie)，是位不修邊幅又和藹可親的奶奶級藝術家，早年因為丈夫也是畫家，為了支持丈夫、養育兒 女、維持家計，放棄個人的創作。直到兒女長大成人，80年代初進入英國皇家藝術學院(Royal College of Art)就讀，之後長居於倫敦郊區。直到2006年被藝術圈發現,封為「年紀最大的新銳畫家」。
第一眼看蘿思的畫，大家想必非常好奇：著名學院出身的蘿思，為何畫作看起來像是隨意鬆散的兒童畫?或是素人藝術家的塗鴉?這樣的作品，為何屢次得到英國學術界大獎，像是John Moores Painting Prize、Wollaston Award(兩者獎金均等同於泰納獎)?同時被選為皇家藝術學院資深院士，2013年在泰德美術館舉辦個展，接連參加2015威尼斯雙年展以及眾多國際大展，得到學術界與美術館高度的評價?
高齡81歲的老奶奶，心靈世界並非死氣沈沈，反而一派天真爛漫、俏皮幽默。她的創作裡沒有大論述，畫面上的主角，可能來自她精心照顧的後花園、印象深刻的電影、回憶中的一首流行歌，甚至是某個八卦雜誌的明星照片。蘿思的創作秘訣也十分簡單，她拼貼這些充斥於日常的視覺元素，在腦海中將這些儲存的素材化為靈感，並先繪成草圖，然後再轉移到巨大的畫布上，通常又會隨著心情或現場因素，任意加以變造，甚至直接把草圖或標題也放到完成的畫作上，增加重組與拼貼的隨機性。浮麗與造作的當代文化符碼，透過蘿思獨特的繪畫語言與智慧淘洗，或被卸除，或被轉換，留下天真樸素的本質，著實與時下時尚流行大異其趣，呈現出老奶奶精神世界裡的烏托邦。畫面上誠摯的筆觸，即是真實人性的流露與表達，沒有高深的理論，也毫無做作與虛偽，純粹清新又耐人尋味。 日前國際藝壇浮現一股OWAs(Old Women Artists)熱潮中，蘿思的作品亦受到矚目。 這群20世紀上半葉出生的女性藝術家，在主流的現代主義與男性威權的框架下，生存空間與美學觀點均備受壓抑，到了21世紀OWAs 重新被發現與理解，重審所謂的主流與邊緣 ，規範與價值。在秩序與失序的辯證中，充斥歷史重量的大論述不再；家庭主婦的生命故事之中，反而讓我們更直覺地發現藝術性所在。
Author / Ting-Yi Chu
Assistant professor, Department of visual communi- cation, Asia University, Taiwan
Aged 81, Rose Wylie is an artistic and lovely granny artist. In her youth, she sacrifided her artist career to support that of her husband's and to look after her children. Yet, even after her children had grown up, she still could not forget the joy of making art.
In the early 1980s, Wylie enrolled at the Royal College of Art in London to study fine art. After which she had been laying low in the suburbs of London, until the art world finally discovered her in 2006, making her “the oldest emerging artist.”At first sight of Wylie’s work, one might wonder why they look so naive, like the works of a child or an amateur, even though she graduated from a top academy? These works won Wylie the John Moores Painting Prize and Wollaston Award, (both of the same standing as the Turner Prize), who was also elected Senior Royal Academician by the RA (Royal Academy of Art) in 2015. In 2013, she had a solo exhibition at Tate Britain, and in 2015, she showed at the Venus Biennale among many major international exhibitions. How are these awards justified? What has earned her all this praise?
Wylie’s paintings have many facets. At first glance, the scribbled lines and rough images resemble random doodles, yet it mirrors the intuitive, untamed inner power of Wylie. The compositions are not based on reasonable perspectives. She places tiny human figures right in the middle of the canvas, or boldly blowes them up to fill the canvas using extreme simplification and very little detail. Yet, if we take a closer look into Wylie’s work, it is not too hard to detect her masterful control and exquisitely planned composition and colour schemes. For example, in“Yellow Bird,” one of the paintings in this exhbition, Wylie use black to start with, but then tried white, grey, and pink, before finally arriving at yellow, and being satisfied. While it might look simple and childlike, it is actually Wylie’s rebelion against “fine art” aesthetics. She aims to uncover the "alternative gaze" through this visual vitality and rich rhythmic character of her art.
We must realise how hard it is, for someone like Wylie, who has received traditional academic training, to abandon the skills she had acquired through such an education, resolutely turning her back on the academic ways in a decided pursuit of pureness. Therefore, Wylie’s paintings always challenge classic definitions of beauty. There are no boundaries to her art,
making her paintings really stand out from the crowds of mass-produced contemporary art. The whole world is excited by her “ignoring” of tradition, and her “letting go” of the burden.
Being romantic, fun, and active, Wylie is not a spiritless 81 years old woman. There is no great discussion in her paintings. The main subjects of her work might be her beloved back yard, an impressive movie, a pop song in her memory, or even an actress picture posted on gossip magazine. Her tips of creating is pretty simple as well, she picks up visual elements which pile up the daily life, transfers these material into inspiration by making them into drafts. When Wylie is working on a giant painting, normally would be changed accordingly to her feeling or some other reasons at that moment. She might even insert the original drafts and the work’s title onto the image, just to increase the randomness of rebuilt and collage. The language of contemporary art might now be gallant and affected, but through Wylie’s distinctive imagery language and her wisdom, it has been either purified or transferred into a very simple, essential thing. Wylie’s creation is undoubtedly a different creature among the current art field, it is the utopia in her spiritual world. With her unrefined brushwork and the revealing of human’s real sensation, Wylie’s works are surely fresh and intrigues without the preachment and any pretense.
Among the emerging OWAs(Old Women Artists) trend, Wylie’s paintings are attracting a lot of attention still. These female artists were born in the early 20th century. Under the restriction of the modernism and male authority, their rights of being an female artist and their thoughts about their own aesthetics had been constrained. In 21st century, the OWAs has finally been rediscovered and understood. Their works are being reviewed by defining the main stream or the edge, and by the rule or the value. In the debate of order and disorder, the great historical discourse has no longer exist. The stories from the daily life of the housewives, surprisingly, making art a simple and intuitive experience.