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梁 平 正

Ping-Cheng LIANG 

Solo Show ''Improvised Painting-I''.Jen-Chen Gallery, Taipei, Taiwan

1985民生報    記者黃寶萍

一直[即興]到滿意為止    梁平正今起進駐畫廊

[本報訊]曾經獲得第八屆雄獅新人獎的梁平正,今天公開地將他的畫室搬到嘉仁畫廊,在牆壁、天花板、地板上,從事即興創作,一直畫到令他自己滿意為止。從今天到下個月十一日為止,梁平正在家人畫廊裡面著四壁,想到什麼就畫什麼,梁平正說,這段時間內他將採取最自由的生活方式來畫畫,不論白天或夜晚,而創作過程是公開的,歡迎藝術愛好者參觀。

梁平正表示,每個人都有不同的個性,可以在不同的環境下創作,而他選擇即興繪畫,可以說將畫室公開,將生活與繪畫結合。目前,梁平正也不敢肯定,經過這段時間,他能產生什麼樣的作品,這完全視環境,當時自我的思考而定,他說,這項繪畫的冒險性很大,誰也無法保證必然成功,不過他有七八成的勝算。梁平正今年六月自文化大學美術系畢業,他的同學中有不少人從事即興繪畫,共同的趨勢,是畫幅愈來愈大。梁平正說,有時候他不懂自己為何非將作品充塞,擴大到整個牆面,但她覺得這次的創作,或許是一個比較好的形式。據了解,梁平正在畫廊的牆、地板、即興繪畫,在國內是首次出現。梁平正創作期間,並展出他以前的作品,以便讓大家了解他的創作過程。

怎麼畫、畫什麼、隨你看    要把過程和結果都交出來

藝術工作者可以自由選擇創作內容及方式,而梁平正似乎更迥異於他人的形式。他說在牆上、天花板、地板,的即興繪畫,對她而言實在有不同的意義。梁平正說,有人會將自己關在密閉的空間中畫畫,不准人觀看,也可以將自己置身於深山林野專心沉思創作,而他卻公開的展示,因為是入世的作法。畢竟藝術的創作,也需要與外界溝通、交流。在畫廊的牆上創作,是梁平正很早以前就有的想法。有同學建議;[我們去把學校的公車都噴上油漆好不好!]可是梁平正堅持,他必須為自己的行為負責,它不能像紐約地下鐵噴漆的小伙子一般,和警察玩官兵捉強盜的遊戲,最後,家人畫廊答應讓他[侵犯]畫廊的牆,梁平正總算有了施展的空間。對梁平正而言,畫畫就是畫畫,感覺很好很順暢。衝動的美感比理性的繪畫更迷人。他說,畫畫的過程是文化脈動的軌跡,作品的流傳只是異代視覺的一種直觀,所以,目前他想捨棄藝術品的保留性,著重於創作的過程。但這不意味過程的重要性超過結果。所以他的即興繪畫必須有結果,他必須完成這次的創作。當然繪畫的過程是冒險,也是挑戰,他已準備迎接,環境的考驗愈多愈好。或許有人聽到梁平正的個展方式,又要說;[這大概是國外某種藝術潮流的跟從者吧!梁平正解釋,當他看到國外的地下鐵塗鴉或壞畫,嚇了一跳,[為什麼作品會如此相近!]而事實上在此之前他從未吸收過相關的資訊。[可能,這是因為我受過正規的西洋美術訓練,這是二者殊途同歸的發展。] 梁平正強調,即使中外的形式相近,但本質還是有差異,畢竟文化背景不同。[畫畫哪有那麼複雜,就是畫阿,想阿,] 梁平正為他這次的展覽下了小小的註腳,希望大家可以不必那麼在意他如何進行,重要的是,看看他可以教出怎樣的成績單。

The solo exhibition of spontaneous painting at Jia-ren Gallery was not a traditional art exhibition, in which paintings were hung and displayed. Instead, the whole gallery space was turned into one painting. According to Liang himself, he took a couple of Kaoliang and a few boxes of paint, and locked himself in the gallery. When doing spontaneous artistic creation, one had to be freewheeling first. A bunch of reporters came to the site, hoping to know more about this artistic precedence. They stood behind the artist to watch the "performance." There were no references or preliminary sketches for the spontaneous painting. His only idea was to fill the entire exhibition space with painting, from the first inch to the last. The floor, walls, and ceiling would be covered in painting; one could not tell the beginning from the end, the left from the right, the ceiling from the floor. The entire space was one giant work. Liang's "spontaneous sculpture," which he was to fully develop later, could already be detected here. He used twenty-seven days to complete this massive work. It took nearly one month to create, and was on view for one month. On the opening day, the same group of reporters came back to report on the exhibition and its repercussion. It was a special case that the exhibition was covered twice by media. From the second group exhibition of Ban Niao, in which the trans-avantgarde began to take effect, to the maturing spontaneous painting at Jia-ren Gallery, which was still not counted as climbing to the top of the world, to the third and fourth Ban Niao group exhibitions at Nan Gallery and Taipei Culture Center, which were merely two of the "hundred peaks," the solo exhibition of spontaneous painting at Jia-ren Gallery hinted at the fact that Liang was close to complete the "hundred-peak test." After conquering the challenge of the three-thousand-meter mountains, he now was confident enough to take on the five-thousand-meter challenge.

I just graduated from college that year, and held an exhibition of spontaneous painting at Jia-ren Gallery. I did not rely on any single picture or sketch but my own imagination. In twenty-seven days, I freely painted the entire space of the gallery, including the floor, walls, and ceiling, which was more than 231 m2. Decades later, I now make wood sculptures, and am still do it without reference or sketch. Instead, I follow the nature of the wood and create a dialogue with the life the wood used to have. Humbly speaking, such an approach to carve according to the nature of the wood is unique and forms personal characteristics.

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