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2010Manjusaka
Tina Keng Gallery, Taipei, Taiwan 彼岸花 耿畫廊，台北，台灣 |
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From Su Meng-hung’s creative process of his paintings, silkscreen prints, installations, and sculptures, there is evidence of the artist’s attempts in transforming traditional Chinese flowers and birds paintings into a sort of gaudy, grandiose visual icon, or by presentations of installation to turn them into a cultural symbol that is sensually appealing. Su often adapts elements of flowers and birds by later Qing Dynasty-era painters, and such visual symbols in his works are not merely driven by the desire to ridicule social markers or making those symbols inclusive to pop culture, the flowers and birds stand for the taste of aristocrats and literati. In the series of works by Su Meng-hung, the most memorable feature is the visual adaptation of Giuseppe Castiglione’s paintings, the adaptation and sampling of the patterns are similar to the emotional states expressed 250 years ago when Castiglione painted “Barn Swallow and Green Peach Blossom,” “Lotus Flower and Butterfly,” and “Flower in a Vase,” Shen Zhenlin painted “Flower Painting God” and Wang Chengpei painted “Peonies.”
Even one’s will cannot be realized with the imperial court shadowing over, the kitsch or refined elegance still remain as an indescribable elation faintly visible in each brushstroke before us. |
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此次個展名為「彼岸花」，即從曼珠沙華（ Manjusaka ）而來，為紅色彼岸花之意。從 2003 年的「開到荼靡」個展、 2007 年「開到荼靡之浮光掠影」、 2008 年「開到荼靡之變形記」，直至 2010 年的「彼岸花─蘇孟鴻個展」，蘇孟鴻皆延續荼蘼之意，荼蘼是花季最後盛開的花，意指繁華到極致衰敗的開始。
從蘇孟鴻的繪畫、絹印版畫、裝置與雕塑的創作歷程，可看出蘇孟鴻試圖將中國傳統的花鳥畫改造成一種艷俗浮誇的視覺圖象，或者用立體裝置的方式，將它們變成一種更感官訴求的文化符號。作品中經常挪用清代中晚期畫家的花鳥元素，其圖像符號並不單純是社會符碼的嘲諷與普普化，這些花鳥代表的是貴族與文人品味。蘇孟鴻一系列的創作中，讓人最無法迴避的就是那揮之不去的郎世寧圖素挪用，這些圖像的挪用與取樣，就宛如 250 年前的郎世寧畫《碧桃家燕》、《荷花蝴蝶》、《畫瓶花》、沈振麟畫《繪神花》與汪承霈畫《牡丹富貴圖》的心情一般，宮廷在上，雖志不能伸，但不論媚俗或雅緻，仍有無人稱的快意，隱隱閃現於下筆之一瞬。 |
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