墨流 - 山
Ink Flow - Mountain
Ink Flow - Mountain
張瀚謙
張瀚謙是一位新媒體藝術家,以前衛電子視聽表演和互動裝置藝術聞名 。 他的作品包括《子非魚》、《封筆》、《輻射界》及《碳境》等, 融合傳統和未來的概念,其美學觀反映他對中國哲學的詮譯。他的作品在德國紅點設計獎、紐約字體藝術指導俱樂部、深圳GDC11、 日本字體設計協會、亞洲最具影響力設計大獎和紐約藝術指導暨 11 屆青年先鋒年賽展分別取得獎項,並於 2010 獲香港藝術發展局頒發「新晉藝術家獎」。
Chris Cheung Hon Him (artist name: h0nh1m; b.1983) is an artist known for installation art and audiovisual performance whose artistic expression depends upon electronic, sound, image and creative technology in New Media. The artistic practice of h0nh1m reflects his beliefs in Chinese Philosophy and his recent works blending ancient and futuristic ideas to create immersive soundscape, generative and data art. He always exploring new medium and nding aesthetic in technological intervention. He founded XCEPT (previously XEX) / XCEED in 2008, the collective works have been showcased worldwide and the creations won him awards in the Reddot, TDC,GDC11, A’ Design, Golden Pin, Design for Asia awards and New York Art Director Club Young Guns 11. He received the Young Artist Award from HKADC and the Young Design Talent Awards from HKDC in 2010 and 2011 respectively. In 2014, he was appointed as the Artistic Director and Curator of the 1st HK-SZ Design Biennale, then he was invited to be the guest speaker of Business of Design Week in 2016. He initiated the “RadianceScape” project back in 2014, the work was selected in variousinternational festival like the Ars Electronica, FILE Festival and the live performance toured in Sónar Festival, WRO Art Biennale and Patchlab Festival in 2017. His latest soundscape installation “Prismverse” and “CarbonScape” gain spotlight in international media like CNN Style, Mashable, Wired, Fubiz, Design Milk and CreativeApplications etc. |
《墨流》以禪入境,黑與白的純粹,明與暗的轉變, 探求水墨最深層次的墨化境象。如笪重光所述 -「虛實相生,無畫處皆成妙境」,作品以潛藏的黑蘊釀無窮的白;墨化之始末乃實踐禪宗「不即不離」的理念。
中國古代繪畫講究在畫面上留白,《墨流》則破而其之。墨黑為眾色之合。「墨」與「默」通(正字通)。默,黑也。禪家借墨色,表示靜默,拙樸木納。向來和尚穿的百衲衣就以灰黑色,尤其禪門為最。由靜默才能接近自然本體。禪者修養身心,就借用外形來影響內相。
《墨流》以無象為有象,而襯托出『道象』與『悟』的境界。作品以機械捲軸呈現出無窮的時空性,以突破傳統長卷水墨畫面的界限。另外虛實的畫面是與場地周邊自然環境相互動而衍生的實相,探求將氛圍傳譯成山水畫般的新視野景觀。
Ink Flow incorporates the philosophy of Zen, and uses the purity of black and white and the shift between brightness and darkness to explore the profoundest level of ink realms. As Chong-Kung Da stated, “the virtual and the real are mutually generating, and even the blankness is turned into a superb realm,” this work employs concealing darkness to foil the infinite whiteness. The inking process manifests the Zen concept of “being neither too distant nor too familiar.”
Ancient Chinese painting emphasizes on the blankness in the image. Ink Flow focuses on the contrary. Black is the combination of all colors. The Chinese word for “ink” denotes the meaning of “silence.” In some occasions, the Chinese word of “silence” denotes the meaning of “black.” Therefore, Zen practitioners have used the color of ink to convey tranquil silence and the natural reservedness. Since the ancient time, Buddhist monks’ robes made of patches are mostly in grayish black, especially those of the Zen Buddhist monks. Silence brings people closer to the self. Zen practitioners aim to refine their body and mind, so they have used the external appearance to reinforce the inner belief.
Ink Flow employs formlessness to delineate forms, and conveys the concepts of “Tao” and “realization.” In the form of a mechanic scroll, the work embodies the infinite time and space, shattering the confinement of traditional ink scroll. The seemingly virtual images are, in fact, real appearances derived from interactions with the surrounding natural environment. Through this work, the artist has translated the atmosphere into an innovative visuality reminiscent of ink landscape.
中國古代繪畫講究在畫面上留白,《墨流》則破而其之。墨黑為眾色之合。「墨」與「默」通(正字通)。默,黑也。禪家借墨色,表示靜默,拙樸木納。向來和尚穿的百衲衣就以灰黑色,尤其禪門為最。由靜默才能接近自然本體。禪者修養身心,就借用外形來影響內相。
《墨流》以無象為有象,而襯托出『道象』與『悟』的境界。作品以機械捲軸呈現出無窮的時空性,以突破傳統長卷水墨畫面的界限。另外虛實的畫面是與場地周邊自然環境相互動而衍生的實相,探求將氛圍傳譯成山水畫般的新視野景觀。
Ink Flow incorporates the philosophy of Zen, and uses the purity of black and white and the shift between brightness and darkness to explore the profoundest level of ink realms. As Chong-Kung Da stated, “the virtual and the real are mutually generating, and even the blankness is turned into a superb realm,” this work employs concealing darkness to foil the infinite whiteness. The inking process manifests the Zen concept of “being neither too distant nor too familiar.”
Ancient Chinese painting emphasizes on the blankness in the image. Ink Flow focuses on the contrary. Black is the combination of all colors. The Chinese word for “ink” denotes the meaning of “silence.” In some occasions, the Chinese word of “silence” denotes the meaning of “black.” Therefore, Zen practitioners have used the color of ink to convey tranquil silence and the natural reservedness. Since the ancient time, Buddhist monks’ robes made of patches are mostly in grayish black, especially those of the Zen Buddhist monks. Silence brings people closer to the self. Zen practitioners aim to refine their body and mind, so they have used the external appearance to reinforce the inner belief.
Ink Flow employs formlessness to delineate forms, and conveys the concepts of “Tao” and “realization.” In the form of a mechanic scroll, the work embodies the infinite time and space, shattering the confinement of traditional ink scroll. The seemingly virtual images are, in fact, real appearances derived from interactions with the surrounding natural environment. Through this work, the artist has translated the atmosphere into an innovative visuality reminiscent of ink landscape.