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