彼得.辛莫曼:新作

Peter Zimmermann - New Work

展覽時間 Duration :2018. 10. 14 - 12.09

開幕茶會 Opening Reception:2018.10.14 ( Sun. ) 14:00-19:00

藝術家 Artists: 彼得・辛莫曼 Peter Zimmermann

 地點 Venue: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 Rd, Zhongzheng District, Taipei

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德國當代藝術最具代表性的藝術家之一-彼得・辛莫曼(Peter Zimmermann) ,自1980年代的「封面繪畫」系列至90年代環氧樹脂抽象繪畫創作,再到2000年的油畫系列,辛莫曼不斷把自己置於極限之外創造新的可能,其中對於環氧樹脂媒材上的專研,以及抽象畫面的解構與再造,使其儼然已成為當代環氧樹脂創作的最佳代表人物。

 

在新一系列的創作中,辛莫曼以顯著的灰白色調震懾了觀眾,在白雪的冰冷以及純美襯托之下,所有顏色呈現出極致的光輝,那些令人聯想起陶瓷或玻璃的光潔表面是如此地絕對又自足,舒緩而不窒悶,看似平靜無情的表面卻深深地觸動人心。這些柔軟而充滿流動性的作品看似隨意地延展,恣意拓展出自己的路,只有在不經意的角落,色彩以一種不會停駐在任何一點,也不合流於任一色調的方式存在,並且呼應著無垠的概念。(註一)

 

這些看似隨性的作品圖像其實是經過辛莫曼精準的計劃而來的。他數位化處理自己拍攝的照片或網路上的圖片,在半隨意挑選的圖像中加入情感和美學眼光做轉換,使圖像不再是原本的形狀,而成為一個輪廓、一個記憶、一個靈魂,更是構成繪畫骨架的交錯網,他們同時是模糊亦是清晰的,給予圖像本身狀態的各種可能性。當原始圖像受到數位干擾時,這時就進入第二階段。藝術家將交錯網以各式色階的環氧樹酯填滿,讓畫面變得較灰暗但顏色飽和,看似容易消失卻能永久保存,且樹脂的透明度亦增加了神秘的感覺。(註二)本次展覽的環氧樹酯是辛莫曼在創作生涯中的最新突破,在多年的研究後,他選擇加入白色環氧樹酯讓畫面多層次的交疊後以留白收場。白並不會使其他顏色變淡,反而因為另外一層的白加入多色繽紛的平面,讓其想創造的無界限如同北極、海洋的景觀一般壯闊呈現。

 

當加入了這層白色的面紗,層層堆疊的樹脂卻不會顯得厚重或過於浮誇,所呈現的是一系列共存的平面,如同在岩漿中流動,彼此分離,又再次聚集。(註三)儘管這些作品都是藝術家有意為之,他們卻仿佛依據著自己的意志,在黑暗的頑強或是明亮的輕柔之中,對抗著地心引力而流動。當邊界再次成為主題,不論是外於作品的框架或是顏料本身所形成的結晶般邊界,那些線條總是銳利而乾淨的,而顏色的碎片則在色調與物質性間之游移。觀者因此被迫沈潛入作品之中,以探尋幽藏於底部的秘密。(註四)

 

彼得・辛莫曼的作品為觀者帶來似親近又疏離的曖昧關係,讓觀者置身感官體驗,但卻又不陷入其中。從意義上來看,圖像位於抽象形式的源頭,但圖像的身分識別卻不被允許,這種對比的方式,確實讓圖像最終依然保持「活躍」,而解碼過程的轉變,則在觀者的凝視下無限延神擴展,沒有最終答案。(註五)

 

註一、註四:擷取自書籍Peter Zimmermann Pool,Dr. Ulrike Schick,2017,頁11

註二、註五:擷取自書籍Peter Zimmermann Italian Curves,Stefano Castelli,2017,頁5

註三:擷取自書籍Peter Zimmermann Italian Curves,Stefano Castelli,2017,頁6

From the “Book Cover Painting" series in the 1980s to the epoxy abstract painting a decade later to the oil painting series in 2000s, Peter Zimmermann, one of the most representative artists of German contemporary art, persistently goes beyond the limits to create new possibilities. His research on epoxy, together with the deconstruction and reconstruction of abstract images, make him the front man of coeval epoxy creation.

 

In his new white collection, Zimmermann uses a neutral white-grey palette to daze the viewers. The coldness and beauty of the snow contrasts the other colors, allowing them to reach their full splendor. This reminds viewers of the reflective surface of porcelain or glass. Simple and emotionless, yet absolute, comfortable, and moving. The gentle works seem to move in flux; yet in unnoticed corners, colors exist in an uninterrupted way, not resting nor mixing with any other tones, echoing the concept of boundlessness.1

 

These seemingly random images are Zimmermann’s careful planned. He digitizes his own photos or pictures from websites, and then casually selects an image to add emotions and beauty, distancing it from its original form. It becomes an outline, a memory, a ghost of itself. What remains is the orthogonal web that provides the structure to the image, blurry yet clear, giving its status infinite possibilities. When the original image suffers from digital interference, then the second stage begins. The orthogonal web is filled with dense layers of epoxy resin. The forms become dulled yet enriched, fleeting timeless, and the transparency of the resin furtherly adds an essence of mystery.2 The epoxy from this new collection is the breakthrough of Zimmermann’s career. After years of research, he chose to add white epoxy to make the multi-level overlap has a white finish. However, this white finish does not cancel out the other colors, but instead, adds a multi-colored plane creating a limitless landscape similar to the Arctic and the ocean.

 

This white veil however does not add to its thickness, nor pretentiousness. What we see instead is a series of coexisting planes that reminds of us magma, which motion part from each other and come together again.3 Even though these works are the artist’s deliberate designs, they seem to follow their own will, defying gravity and giving in to its own flow. When the outline becomes the focus again, the margin within it become shaper and clearer whether it comes to the outer frame or the almost crystalline border created by the material itself. The fragments of color swim between tonality and materiality. Viewers are thus forced to dive into the work to search for the hidden secrets.4

 

Peter Zimmermann's works invite the viewers to open up their senses without deeply falling into it, giving them a feeling of closeness and distance at the same time. There is a sense that an image lies at the source of their abstract forms, but the identification of this image is not permitted. It is precisely because of this contrast that the pictures are “alive”, in such a way that the process of interpretation extends endlessly under each viewer’s gaze.5

 

1, 4 Peter Zimmermann Pool, Dr. Ulrike Schick, 2017, page 11

2, 5 Peter Zimmermann Italian Curves, Stefano Castelli, 2017, page 5

3 Peter Zimmermann Italian Curves, Stefano Castelli, 2017, page 6