細節
劉承鎬
Yodeleheeyoo
墨水筆 紙本 裱於木板
2005年作
簽名: YOO SEUNG-HO;劉承鎬
展覽︰
2005年3月29日-6月19日「The Elegance of Silence」森美術館 東京 日本
2006年 「借刀殺人之計」CAIS Gallery 首爾 韓國


劉承鎬藉著探討我們與文字之間的關係,了解其重要性,令對話的效應充斥著環境四周,並進入我們的腦海,對它的定義建立一個固有的形象。劉氏演示了語言作為材料的潛在素質和它在我們腦海中的圖示過程,他推演這個邏輯,鋪陳以語言為結構素材和串連詞彙來重塑傳統的景觀,概括傳統山水畫的定義。

他的片語「yodeleheeyoo」在空白畫布的孤寂中迴響,顯然地,以東方山水畫作為構圖輪廓是基於他期望這種載體能夠詮釋他的理論。劉氏獨特的書法特徵拼湊出地形的水平與高低,反映出簡單的黑白兩色無形的媒介。東方元素的最典型實例,就是山岳高聳入雲的錯綜糾結但結構保持工整俐落,這般鮮明的格局和背景空曠的強烈對比,可比擬為他精準的排字技巧,刻意突顯文字與四周空間的視覺平行的暗示,與東方畫作的抽象本質相呼應。劉承鎬毅然地將密密麻麻的字詞「yodeleheeyoo」拼湊成山勢的外貌輪廓,倣效傳統山水畫的理念,表現思想的景致;將觀者自然地帶入畫中情境,一如登上群山聳立之巔,聽見自己在山谷間的回聲,生動展現了畫家想傳達的一份暢快淋漓的快感與滿足。
展覽
Tokyo, Japan, Mori Art Museum, The Elegance of Silence, 29 March-19 June, 2005.
Seoul, Korea, CAIS Gallery, Jie Dao Sha Ren Zhi Ji, 2006.

榮譽呈獻

Felix Yip
Felix Yip

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拍品專文

By exploring our relationship to and understanding of the materiality of words, the effect of dialogue becomes environmental, entering our mind and building an innate image of its definition. As Yoo Seung Ho demonstrates the potential material qualities of a language and its pictorial process in our mind, he applies this logic to reconstructions of the traditional landscape by exposing his linguistic structure of materials and nature by pronouncing strings of words that epitomize the definition of traditional Oriental paintings.

As his words 'yodeleheeyoo' echoes within the isolation of the white, empty canvas, it is clear that oriental painting as his basic silhouette is one that was heavily contemplated by Yoo for his theoretical deliverance. A calligraphic character of Yoo's own handwriting spells the horizon and altitude of its location, reverberating against the simplicity of his black and white and immaterialist medium. The hills situated high above the clouds are intricate and neat in its textural definition; such high contrast between distinctive patterns and the emptiness of the background metaphorically reflects his acute command of typography as he knowingly extracts the parallel significance of visual contrast between the texts and its surrounding space, matching it to the abstract qualities of oriental paintings. Contouring an image of a landscape that he decidedly visualizes with his consumption of the word 'yodeleheeyoo', he imitates the notion of traditional painting as the landscape of the mind, inducing the viewer to enter more deeply into the experience of the painting, as if ascending to the crest of the mountain ridge beneath, while hearing the sound of this enthusiastic shout, expressing in lively fashion the artist's sense of free and unrestrained pleasure and satisfaction.

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