流光幻景－旅英大馬華裔名家岑健興個人畫展畫冊 by mohailou

流光幻景

Flowing Mirages

旅英大馬華裔名家岑健興個人畫展

James Sum Solo Exhibition

展覽日期 2016年4月30日∼5月5日開幕典禮 2016年4月30日（六）14:30 展覽地點德群畫廊（臺灣國立師範大學美術系館1F）地址：臺北市大安區師大路1號

主辦單位墨海樓國際藝術研究機構

Exhibition Dates 30 th April – 05 th May 2016 Opening Ceremony 2:30pm, Saturday, 30th April 2016 Exhibition Venue Teh-Chun Art Gallery (1st Floor, Department of Fine Arts, National Taiwan Normal University) Address : No.1, Shida Rd., Da’an Dist. Taipei City, 10645 Taiwan

Event Organizer Mo Hai Lou International Art Research Group

目錄油畫中的水墨精神─黃進龍

融貫中西，物我兩忘─袁金塔

岑健興的繪畫藝術─葉國新

各界評論

自序

圖版

藝術生活剪影與年表

圖版目錄

Contents Inner Chinese Ink Painting Spirit -- Huang Chin-Lung

Perfect Assimilation of East and West into One -- Yuan Chin-Taa

Art of James Sum -- Ye Guo-Shin

Various Acclaim

Preface

Artworks

Self Biography

List of Artworks

油畫中的水墨精神－－岑健興作品中的中西融合與再現黃進龍

的幻景。其所記錄下來的，往往已不是所見

因本次岑健興先生假師大德群畫廊舉辦

物體的本身，而是觀看的過程。

個人畫展的契機，我有幸得以直接接觸這位優秀的大馬旅英畫家和他的作品。岑健興不

僅同時精通水墨畫、水彩與油畫，更曾以彩

岑健興最擅長的，莫過於色彩的運用和

墨作品於1995年獲英國皇家水彩協會的「最

組織，他不僅能夠運用色彩本身的特性來組

佳新人」獎──為該獎自1804年設立以來唯

織、搭配、混合甚至衝突，製造豐富的色彩

一一位獲獎之亞洲人士。要知道水彩發源於

層次，更擅長運用光的特性來表現色彩變

英國，而英國皇家水彩協會更是英國極為古

化，因此他的繪畫作品能夠達到光與色的完

老的水彩組織，一位華裔畫家能夠以中國畫

美統一。從這次畫展的作品看來，他對色彩

的形式得到此協會的青睞，其意義不可不謂

的運用幾乎已是爐火純青，光在色彩之中流

重大，可見他那中西交融的獨特風格，得到

淌，就像時空的推移和轉換。

了西方藝術圈的深深共鳴。當他將中國畫推其對物外之情的掌握，更展現出一種對

入英國主流畫壇後，又開始嘗試用油畫的形

藝術創作的自在與灑脫。其中最為人稱道

式來創作，來表達他心中的東方內涵。

的，還是畫面中透露出的東方詩意及哲理。從彩墨到油畫與其他創作，都可看到岑

古人常說，「富胸中丘壑」，岑健興對於大

健興先生不斷自我突破的蛻變痕跡。時空的

自然自有一套理解與詮釋的邏輯，面對自然

對辨、詩意的抒情、光影律動的捕捉到極致

美景的悸動，時常有中國唐詩般優美的意象

畫面感的追求……在其畫面中可見印象派之

湧現心中，造就了其風景相關畫作中呈現的

對光影追逐的雅趣，以及跳脫傳統概念的企

哲思與靈動。是為「以油畫畫出中國水墨精

圖。不受構圖、題材、潤飾等框架的限制，

神」的表現力。

以主題的視覺經驗感知為首要的考慮，彷彿莫內所說：「試著忘卻你眼前的一切，不論

而隨著畫家年紀漸長，所繪主題或技法

它是一株樹，或是一片田野；只要想像這兒

展現、媒材運用，更顯隨心所欲，不受拘

是一個小方塊的藍，這兒是長方形的粉紅，

束。本次展出，為岑健興近年創作的累積，

這兒是長條紋的黃色，並照你認為的去畫便

能夠在臺灣看到這樣一位畫家近年來的創作

是……。」他常以不加琢磨的手法來呈現視

軌跡歷程，實為難得。

覺經驗中短暫卻絕美的片段，最終成為炫目

國立臺灣師範大學藝術學院院長

Dean, College of Arts, National Taiwan Normal University 2

Western Oil Paintings Exterior, Inner Chinese Ink Painting Spirit Huang Chin-Lung

composition, but he is also adept at using the qualities of light to add extra depth and movement to his paintings, thereby creating the perfect unity of colours and light. From this exhibition, we can clearly see his expert mastery of colours, where light seems to move between the different colour shades, as though the pictorial space in his painting is continuously interchanging.

As a result of James’ solo exhibition at Teh Chun Art Gallery at National Taiwan Normal University, I have had the privilege of directly meeting this distinguished Malaysian born Chinese-British painter and his work. James is not only proficient in Chinese ink painting, but also in Western watercolour and oil painting. To be awarded the “Outstanding New Entrant” in 1995 by London’s Royal Watercolour Society (RWS) is a great honour, especially as he is the first Asian since the award’s inception in 1803. Watercolour painting originated from Europe and the RWS is an extremely established organization; clinching this award is of extra significance as he won the award using a predominantly Chinese painting and as an ethnic Chinese painter in a Western dominated field! It just goes to show how much they loved his art and a testament to his artistic genius.

Although his oil paintings are essentially Western, we can still discern Oriental poetry and philosophy from his paintings. His aim is to depict the Chinese ink painting spirit using Western oil painting mediums. With age and experience, his subject matter, depiction techniques and use of mediums, are increasingly more carefree and arbitrary. This exhibition showcases a cumulation of his artworks over the years. To be able to see the artistic trajectory of such an artist in Taiwan is indeed rare and an event not to be missed.

Nonetheless, after introducing Chinese ink painting into British mainstream art, James then started to experiment with Western oil paintings to express his Oriental spirit. From watercolour ink to oil paintings, we can clearly see James’ continuous breakthroughs in his artistic journey. From James’ art, we can see his appreciation of the impressionism freedom of colours over lines and contours. His intention to break away from tradition and to be free from all restrictions is clearly evident in his artistic journey. What James is best at, is his superb skill in the use of colours. He is not only able to fully utilize colours to organize a rich and colourful

融貫中西，物我兩忘－－我看岑健興先生的繪畫藝術袁金塔

岑健興先生（James Sum）為旅英知名大

的細膩詩意，而他的顏料暈染潑灑與流暢

馬華裔畫家，為少數在英國仍大放異彩的華

的筆觸線條，不僅展現出西方抽象派的表現

人藝術家。畫作中充份展現其獨特的中西融

風格，又同時蘊藏著中國水墨中「大寫意」

合特點，東方的傳統內涵與西方的媒材表現

的畫法。岑健興先生又深諳中國繪畫中「知

互為表裡、相輔相成，卓然一體，跳脫一般

白守黑」的思想精髓，在他的作品中，常常

觀賞西方繪畫的框架與模式，予觀者不同的

運用了留白來突顯色彩，並將熱烈鮮麗的畫

感受，觸發欣賞畫者新的美感經驗。

作轉入一種空靈又有無限之感的氛圍裡面。這種方法，使他的作品常常瀰漫著神秘的靈

其藝術淵源，上可溯至朱德群的詩意奔

性，宛如訴說著生命的本質。岑健興完全達

騰、趙無極的東方哲思，以及其師承司徒立

到了中國思想裡所謂「得象忘言，得意忘

的靜觀辨證。這幾位優秀創作者最大的共通

形」的境界，他打開了繪畫有限和有形的空

點，在於傳統內涵於異質媒材上的再現，展

間，進入物我兩忘的世界。能夠用抽象油畫

現了不受素材、形式、東西方等框架拘束的

的形式，達成與東方水墨畫的精神連繫，十

藝術表現手法，重新賦予了作品的自我詮釋

分難得且讓人驚喜。

權。岑健興亦然，其以出身華人文化圈深培而出的文化養份，創造出了特有的水墨思維

如今年逾七十的岑健興，藝術創作愈顯

脈絡，悠遊於水墨、水彩甚至油畫等不同創

隨心所欲而不逾矩之姿，本次畫展展出其近

作形式之間，有其不可抹滅之高藝術性。這

年的得心之作，定能給人耳目一新的感受，

使我聯想到自己的創作歷程中，也有不少借

也定能給予台灣藝術界一次新的刺激。

鏡西方繪畫技法，以完成跳脫過往昔人所塑之傳統的挑戰。在「跨界」與融合的途中，許多道理與過程定然相似，看似截然不同的藝術創作成果，背後蘊含著同樣對藝術高度追求的堅持，其中的共鳴感，油然而生。

岑健興先生近期以抽象油畫作為主要的

前國立臺灣師範大學美術系主任暨所長

創作形式，本次畫展的這些作品，無不可見

Department Head cum Director, Department of Fine Arts, National Taiwan Normal University

西方濃重沉厚的色彩中，飽含東方藝術獨特

Perfect Assimilation of East and West into One, My Interpretation of James’ Art Yuan Chin-Taa

James’ recent creations have all been mainly abstract oil paintings, but in all his paintings for this exhibition, within the strong Western colours, one can easily discern the poetic delicacy unique to Oriental art. James understands the Chinese ink painting aesthetics of “Knowing White and Guarding Black”, and infuses this into his paintings, highlighting certain colours by leaving some white space around. These selective leaving of ‘white’ spaces creates an ethereal atmospher, often giving his paintings a mystical spirituality. To be able to use abstract oil painting medium to achieve the spiritual connection with Chinese ink painting is rare and amazing.

James Sum is a prominent Malaysian Chinese-British artist, one of the few renowned ethnic Chinese artists in the United Kingdom. His paintings fully demonstrate his unique fusion of East and West, harmoniously combining Oriental spirit and meaning with Western medium and representation. Both are perfectly complementary, transcending the boundaries of conventional Western art, giving the viewer a whole new viewing experience. James’ artistic origins can be traced back to Chu Teh Chun’s poetic exuberance, Zao Wou-Ki’s Oriental philosophy, and his mentor, Szeto Lap’s deep observation. The main thing these outstanding artists have in common is the depiction of traditional Eastern meaning and spirit on non-traditional Western medium; demonstrating their freedom from conventional frameworks of subject matter, form and medium etc. This gives back the artist his right to freely interpret and express his own art; the same of which can be said of James’ art. With his Asian origins, he cultivated his unique Chinese ink painting ideology, which he then depicts in various non-traditional mediums such as watercolour and oil paintings. This leads me to think of my own art creative process where I borrowed from Western art techniques in order to break through the traditional challenges of past predecessors. Nonetheless, regardless of whether it is the process of transcending boundaries or assimilating, the underlying commonality is still the relentless insistence of artistic excellence, of which I can resonate deeply with James.

Just over seventy years old, James’ recent artistic creations show maturity of a grand master. The artworks exhibited this time are his recent works of labour and are bound to give Taiwan’s art lovers a pleasant surprise.

岑健興的繪畫藝術葉國新

在當代亞洲的畫壇中，「東西融合」的

取了抱石皴的筆法形式特徵，卻轉換成較細

繪畫理論與創作踐履可謂「顯學」，受到西

長渾融的線條，因而呈現出一種棉絮感與水

方藝術浸潤的當代水墨畫家們不斷嘗試藉由

暈感，將畫中的山體包覆於這些線條之中，

新的思維與技法，來豐富水墨畫的表現方

形成特殊而強烈的視覺效果；同時，他又將

法，創造新的藝術語彙與新的議題；而以西

傳統山水畫的元素（如渺小屋舍在山頂的排

方繪畫類別為創作主軸的亞洲畫家們，也經

列）置入西方式的構圖法則中，既有明暗遠

常思考／探索如何融入東方繪畫的精神思維

近透視的妙處，也傾向了些微抽象的表達方

甚至技法，以呈現出特異於西方世界的在地

式。這幅作品入選1995年皇家水彩協會夏季

化藝術樣貌。筆者以為，來自馬來西亞，後

展覽，並獲得最佳新人獎，使岑健興成為自

旅居英國的岑健興，無疑是這些追求東西融

1804年皇家水彩協會成立以來，第一位獲得

合理念的畫家當中十分特殊的一位。

該獎項的亞洲人，顯然這件以中國山水的筆

岑健興是當代英國的華裔代表畫家，他

墨與氣韻表現融合西方繪畫元素的作品，受

以其近乎完美地融合東方與西方韻味，既突

到了英國藝壇的青睞，這無疑具有深遠的意

出於東方畫壇亦相異於西方藝術的繪畫作

義。

品，廣受英國藝術界與藝術市場的喜愛，不

岑健興曾赴巴黎拜法國華裔重要畫家司

僅獲獎無數，也多次出入於蘇富比、佳士得

徒立為師，司徒立從靜觀與傾聽出發的繪畫

等國際最重要的拍賣市場。筆者與岑健興先

思維，創造了一種沉靜幽深的藝術，直通幽

生相識已久，他對於繪畫藝術不知休倦的探

微的宇宙本體，對岑健興的藝術有著重要的

究與自由自在的藝術態度，始終讓筆者佩服

影響。同時，其相當喜愛的兩位法國華裔畫

不已。他宛如魔術師，能夠將接受到的藝術

家朱德群與趙無極，此二人對於色彩的使用

養分與素材，自然地轉入自己的創作當中，

以及空間的構造方法，亦影響岑健興的繪畫

從而開展出新的風貌。例如其1993年的《清

極深。上個世紀法國巴黎勒讓特畫廊的藝術

註1

晨》（Early Morning），可以明顯地看到中

主任莫里斯‧巴尼耶(Maurice Panier)曾如此評

國近現代大師傅抱石的痕跡，傅氏以中鋒散

論朱德群：「朱的空間不屬於古典的透視。

筆的線條表現山石質感的獨特皴法，在這幅

他的空間可以說是一種多維空間。顏色的

作品裡起到了積極的作用。它突顯了山體粗

巧妙選擇，以及小方塊在畫面上的設置，生

礫發皺的質地，且製造出一種雄渾磅礡的氣

發出一處處使光線得以通過的微妙的調整。

勢。不過岑健興並非傅抱石的模仿者，他吸

畫面既是空間又是結構……」這個評論，也

恰好能用於評論岑健興的創作。岑健興的繪

他對色彩的敏銳與探索色彩的創作欲力，由

畫－－尤其是晚近的抽象油畫－－往往在色

此欲力所激發出的蓬勃能量，使色彩實驗貫

彩與色彩的交融、重疊和分割之間產生幻妙

串了他的藝術生涯，並不斷創造出新的驚

的多元空間，從而跳脫傳統東方的陰陽景深

喜。

佈局與西方透視空間的構圖方法，形成一種

大約從九○年代後期以來，岑健興的創

渾然天成的空間構圖，此種空間直接指向了

作逐漸由彩墨畫過渡至油畫，近年來，他的

宇宙，而非自然實體。這一點，正契合中國

興趣便幾乎完全轉向了抽象油畫。其一九九

的宇宙觀與哲學觀。

五年的《池畔的早餐》可視為一次開端的表

岑健興對於東西融合的探索與實踐有其

徵。在這幅作品中，岑健興引入西方立體派

鮮明的脈絡軌跡。早期他以水墨結合水彩的

（Cubism）與野獸派（Les Fauves）的概念，

「彩墨畫」進行創作，其作品基底較傾向於

以平面幾何分割構圖與鮮豔強烈的色彩完成

東方，如前文提及的《清晨》以及作於同年

一幅歡快愉悅的作品，可看見其結合靜物畫

的《雲》（Clouds）和《祝福》（Blessing）

與抽象畫的嘗試。直至近年，他也仍有此種

皆是。《雲》註2 是吸收另一位中國近現代

風格的創造延續，如本次畫展展出的《抽

大師李可染積墨法，再加入水彩的幻異色彩

象》（Abstract）、《屋頂》（Rooftop）、《

效果而成的精彩作品，其墨韻暈染的渾成流

無題1》（Untitled 1）皆是，我們可以看到

動，以及佈滿其中具迴旋動勢的細散皴筆，

他不同的色彩組合、運用方式以及不同的筆

無一不是中國傳統水墨畫的特殊格體。而《

觸質感。不過，這些作品的幾何形色彩圖塊

祝福》

註3

以中國及東南亞傳統的素材－－佛

仍然呈顯出某種「具象性」，相較之下，他

像作為主題，並採用接近傳統工筆線描的技

後來所創作的大部分作品，便具有更大的抽

法勾勒觀音形體與面容，配合傳統書法落款

象性。從本次畫展的展品來看，其抽象表現

與鈐印，突顯了濃厚的東方韻味。然而畫

方式也呈現著多種樣貌，有些帶有印象派的

家卻又引入西方抽象概念與色彩表現這幅

唯美風格，如《紫紅色的山》（Mauve moun-

作品，於是東方與西方，具象與抽象相互碰

tains）與《熾》（Ablaze）；有些以散碎式

撞，形成幻異的視覺表現，觀音像們被浮凸

的筆觸與油彩顏料堆疊形成深具立體感與顆

於畫布之上，如夢似幻，使「祝福」更接近

粒感的成果，如《鬱鬱蔥蔥的山》（Seafront

於神性的，不可侵犯的。

Mountain）與《微小畫》（Miniature）；亦有

從他中早期這些作品來看，便已能看出

融合美國抽象表現主義的思維，以半自動性

技法完成具流動性的作品，如《潟湖》（Lagoon）、《日落高地》（Sunset Highland）等。然而，無論這些作品具有多大的抽象【註1】

性，東方式的渾融宇宙觀仍然是這些作品的核心精神，同時，他也經常運用中國水墨的

1993 《清晨》 68x68公分彩墨紙本

方法與概念，如《紅暈》（Blush）中「墨分五色」的美學哲理思維便是。換言之，若中

1993 Early Moring 68 x 68cm Ink & colour on paper

早期的岑健興以傾向中國水墨的形式為主，融入西方繪畫思維來「引西潤中」，那麼晚年的岑健興，則是追求以西方的繪畫媒材以及抽象表現方法為創作形式，來召喚東方哲學與美學精神。

【註2】

本次邀請岑健興來台舉辦畫展，並以「流光幻景」為題，將其三十幅油畫作品根據

1993 《雲》 68x68公分彩墨紙本

風格分為七個主題，從純粹渾沌到繁複立體，從宇宙、自然到人文，使台灣的觀眾能

1993 Clouds 68 x 68cm Ink & colour on paper

夠遍覽其多種多樣的色彩揮灑、碰撞、流動與融合的方式，以及他近年來如何藉由繪畫的語彙，持續進行「東西融合」議題的深究；且以其蓬勃的創造力，繼續開展出新的繪畫幻景。

【註3】 1993 《祝福》 68x68公分彩墨紙本 1993 Blessing 68 x 68cm Ink & colour on paper

英國倫敦都會大學藝術鑑定學博士

Professor, Art Authentication Ph.D, London U.K.

The Art of James Sum Ye Guo-Shin

the painting as it brings out the unique coarse “wrinkled’ texture of the mountain and yet also creates the monumentality of the massive mountains. Nonetheless, James is by no means a Fu Bao Shi imitator. Although he borrows Fu’s unique “cunfa” brush technique, he improvised and translated it into a more slender form, giving a feathery and flowing effect, encasing the whole mountain within. At the same time, his pictorial composition is predominantly Western, infusing traditional Chinese painting elements like the small houses on the top of the hill, he utilizes Western-style near and far perspectives, together with light and shade to create a slightly abstract form of pictorial expression. This painting was exhibited in the prestigious Royal Watercolour Society Summer Open exhibition in London 1995, and won the “Outstanding New Entrant” award, being the first Asian to win this prize since the awards inception in 1804. This has undoubtedly farreaching significance and is a testament to his artistic brilliance.

In Asia’s contemporary art world today, combining East and West aesthetics is a prevalent artistic theme that is currently enjoying the spotlight and attention. Contemporary ink painters, introduced to a myriad of Western art techniques, are now finding ways to innovate and invigorate the thousands year old antiquated ink painting tradition. Western artists, on the other hand, are looking to the East for spiritual and ideological inspiration to enrich their artworks. James, hailing from Malaysia, and eventually settling down in U.K. is undoubtedly one of the more exceptional pioneers to successfully combine the East and West. James Sum is a representative ChineseBritish artist, who, with his almost perfect blend of Eastern and Western aesthetics, has gained prominence in the Eastern and Western art worlds. Not only has he received numerous awards, but his paintings have also enjoyed much success on the international market with numerous transactions in major auctions such as Christie’s and Sotheby’s. I have known James for many a year and have always admired his relentless pursuit of artistic creation and his amazing talent of effortlessly assimilating his experiences and inspirations directly into his art. Like a wizard, James absorbs artistic inspiration from both East and West and concocts his own unique blend of artistic creation. For example, we can clearly see from his “Early Morning” (1993), traces of Chinese ink painting Master, Fu Bao Shi, and his signature “cunfa” brushstrokes. This enhances

James’ mentor, Szeto Lap, an important Chinese-French Master of Realism paintings, whom James used to travel to Paris every weekend to learn from, left a lasting influence on James artistic expression. Szeto’s artistic creation approach starts out from observing and listening to be able to depict the “absolute reality”, thereby creating a still and quiet deepness that allows one to be one with nature. At the same time, James also admired two other Chinese-French painters Zao Wou-Ki and Chu Teh-Chun. This duo’s use of colour and

spatial composition left a deep influence on James. Maurice Panier once wrote, “Zhu’s space does not subscribe to the classical notion of perspective, but that of a multi-dimensional space. The clever use of colours and the placement of objects on the canvas in a way such that light can seemingly pass through the space. The drawing space is both space and structure…” This description can also be aptly used to describe James’s art, especially his recent oil paintings. The juxtaposition, overlapping and blending of various colours create some wonderful pictorial spaces that transcends traditional Chinese pictorial depth and Western perspectives. However, this formation of a totally natural composition of space, extending “infinitely” beyond, is in alignment with Oriental ideology of being at one with the universe.

predominantly Oriental. Similary, “Blessing” uses traditional Chinese and Southeast Asian subject matter – Buddha statues, but with colours and abstract forms of Western depiction techniques. Nonetheless, the calligraphic brushstrokes used to draw the Buddhas, the calligraphy and Chinese seal give it a strong oriental flavor. We can see the obvious play between figurative and abstract; meticulous drawings of the Goddess’s face but yet floating about in pictorial space. This juxtaposition evokes a dream-like surreal ambience, which creates a sense of sacredness, of inviolable divinity. We can thus see from his early works that he had already possessed a strong inclination towards colour exploration. This keen curiousity is what propelled him to start experimenting more with colour and to create new highlights in his artistic career.

James’ artistic journey has followed quite a clear path of development. Early on, he combined watercolour with Chinese ink painting to create hybrid “watercolour ink paintings”. Just like “Early Morning” (1993), “Clouds” (1993) and “Blessing” (1993) also belong to this category and they lean more towards the Oriental spectrum. In the lower half of “Clouds”, the thick layers of overlapping ink washes are clearly a result of Li Ke Ran’s “Accumulated Ink Technique”. Although the addition of colourful washes of watercolour gives the painting a refreshing breath of life, we can see from the hard edge brushstrokes and mountain ‘crevices’ that the painting is

Roughly after the early 1990s, James gradually transitioned from hybrid watercolour ink paintings to oil paintings. In recent years, his creations have almost been done on oil paintings medium. “Breakfast by the Pool” (1995) can be regarded as the beginning of this transition into oil paintings and abstraction. In this painting, James experimented by introducing Cubist and Fauvism elements, using very sharp and distinct colour geometric blocks to cut up the pictorial space and depict a cheerful sense of childlike joy. We can clearly see his stylistic experimenting of

combining still life and abstract figures. Until recent years, he has continued to develop this style, as seen in paintings such as “Abstract”, “Rooftop”, and “Untitled 1”. We can clearly see the different colour combinations and textures. However, they all still preserved some form of figuration. In comparison, this would all disappear in his later abstract artworks. The manner of abstraction also differed, some such as “Mauve Mountains” and “Ablaze” were more of an Impressionist style; while others such as “Seafront Mountain” and “Miniature” had a more three-dimensional and grainy texture from the multiple stacking of oil paint pigments. There were also those such as “Lagoon” and “Sunset Highland”, which depicted influences of American Abstract Expressionism’s action painting, where paint was allowed to drip freely down the canvas in a somewhat restrained “semi-automatic” manner. Nonetheless, regardless of how abstract these paintings were, the Oriental ideology of being at one with the Universe was still the core essence of these paintings. Additionally, he also uses traditional Chinese ink painting techniques and aesthetics such the “Five Shades of Ink” in “Blush”. In other words, if his early works were leaning towards Oriental depiction methods with Western influences of nourishment, then his later artworks are Western depictions and medium but with an Oriental soul.

paintings divided into seven sub-themes – from ethereal and pure, to complex and geometric; from Universe and Nature, to figurative and cultural. Taiwan art lovers can look forward to feast their eyes on a brilliant interplay of colours, and the latest developments of James relentless creative pursuit of the perfect integration of East and West.

Generously accepting my invitation to exhibit in Taipei, this solo exhibition of James is named “Flowing Mirages”, with his thirty

各界評論 Various Acclaim

「在岑健興的畫作中，我們發現一種中與英的完美融合。這不僅在於他選擇了混合英國風光與中國地貌的場景，也在於他所使用的顏料如此完美地具現出每個國家的氛圍。這從比較他以濃墨表現的倫敦橋與帶有鮮豔秋色的英國綠地，和燠熱多濕的中國群山與怒捲的雲濤便可以得見。他所選擇的媒材──彩墨於宣紙之上──是典型中國的；然而，雖然油畫是歐洲的藝術，岑健興卻往往於其中注入了鮮明的中國風味。這是融合亞洲藝術的最佳表現：戲劇性和創新性。」

Seonaid Maclean-Bristol 二十世紀中國畫倫敦蘇富比拍賣

胡東放曾經評論岑健興的繪畫道：「（岑健興作品）妙處在於無論從東方或是西方的眼光來看都是有某種啟示性新意的。從東方的眼光來說，中國畫的山水部分通常已成為固定形態，無論是構圖，筆法，設色，以至於風格等幾乎均已類型化。岑健興雖然畫的是中國畫，但是他作畫的程序卻是西式的。首先，他很注重寫生，如他所畫的「雪霽」、「夏雨」等作品，都匯入了許多的實景實地的感受。其次，由於他所畫的景物已不只限於中國的境內的高山大川，而是涵括了許多實景甚至英國的地貌風光，所以便極大地激發了藝術家的某種獨創性，並以此找到了具有西方水彩韻味的新鮮的表現手法。這樣，在他的中國山水畫之內便含有了一條固守傳統樣式所難以達到的生動感，因而也便為中國山水畫畫路的拓寬注入了新的思路。」

－－胡東放，〈岑健興的墨彩風景畫〉，「旅英畫家岑健興墨彩風景畫展覽」序文。

Hu Dong Fang once commented on Cen Jian Xing’s paintings, “the remarkable thing is that regardless of whether you view his paintings from a Eastern or Western point of view, you will always be able to find some sort of new inspiration. From an Eastern perspective, the traditional Chinese landscape painting is literally fixed in form. Whether it is the composition, brushwork, colours, even artistic styles have all been categorised. Cen Jian Xing’s paintings are essentially Chinese, but his painting methodology is Western. Firstly, he emphasizes the importance of sketching from nature. As can be seen from his works such as ‘Snow’ and ‘Summer Rain’, we can see traces of various local elements infused into his paintings. Secondly, his subject matter is no longer just limited to the traditional mountains in China, but encompasses numerous landscapes including that of British scenery. This has greatly inspired the artist to innovate a new form of watercolour expression to complement and evoke the atmosphere of Western scenery. Consequently, his Chinese landscape paintings now have a liveliness that strictly traditional Chinese landscape paintings are unable to achieve, thereby invigorating and widening the horizons of Chinese landscape painting. Hu Dong Fang UK Touring Artist James Sum Ink and Colour Landscape Paintings Exhibition

自序岑健興

從馬來西亞到歐洲，我始終摸索、追求

畫布之上的藝術觀，是很中國式的。但是他

著中西合併的藝術風格，這種風格並非是碎

的表現方法卻是非常西方式的，尤其當他來

片式的「中」拼「西」湊，對我而言，「中

到法國之後，他的繪畫開始轉向抽象性的探

西合併」所意謂的，乃是一種渾融的，在中

索。趙無極與朱德群有很類似的藝術傾向。

國繪畫程式與西方藝術美學之間建立真正的

旅法後，他從塞尚(C zanne)、畢卡索(Picasso)

精神性溝通。從東方到西方，我受到許多大

走向克利(Paul Klee)，藝術創作越來越自由

藝術家的影響，諸如張大千自由暢達的潑墨

隨性，客觀而完整的視覺形象已經裂解成隨

畫、李可染濃重厚實的積墨法山水、傅抱石

機的符號元素，令人感到無止盡的神秘與荒

的獨創皴法、林風眠似中似西的彩墨畫，均

涼。這些創作思想給予我很大的啟發，我思

成為我的藝術養分。這些畫家都站在中國傳

考著更大的創作自由性，並且更加試圖探索

統的基礎之上，很成功的令西方藝術滲入其

隨機的物體形象如何予人感官與精神的新體

中，去實驗中國水墨的最大可能性。而西方

驗。尤其是朱、趙二人對於色彩的使用以及

的Joseph Mallord William Turner驚心動魄

空間的構造，對我也有相當大的影響。這種

而充滿迷幻的印象式畫法、畢卡索扭曲且抽

空間與色彩的實驗對我而言十分迷人，我試

象的驚人想像力，則是我在接受西方藝術語

圖運用傳統與非傳統的繪畫媒材，和強烈的

彙中的重要成分。我在不斷變化的創作中，

色彩碰撞，表達出一種跨越又融通的藝術成

去探問如何運用這些豐富的藝術養分，融入

果。更重要的是，無論是趙無極或朱德群，

自我的創作當中，以達到真正完美的中西融

他們都將繪畫視為有形的詩，以及渾融的宇

合。無論是使用中國傳統素材的水墨畫或是

宙觀。這便是很傳統的中國繪畫思維，而我

西方傳統的油畫，都試圖在其中找到一種相

所要追求的也正是如此。我的油畫作品有著西方和當代的面目，

互貫通的精神內涵。朱德群與趙無極兩位大師的創作是我個

但當中的意境和氣韻，卻充滿中國水墨畫的

人非常重要的藝術來源。朱德群追求著繪畫

精神內涵。近年來，我專注於抽象油畫的創

空間與現實空間渾融的交流滲透，不要客觀

作，並持續進行色彩的多種實驗，這次很榮

的描繪，也並非要將外在現實的每個題材元

幸受邀來台舉辦畫展，能夠和台灣的觀眾分

素直接放入繪畫當中，而是要用自己的肉身

享我的創作成果，我期許自己還能不斷前

和情感去感受世界，然後將一種屬於個人但

進，突破自己，不斷以前所未有的方式創

又能溝通自然與觀眾的真實現實呈現在畫作

作，在繪畫的世界裡開啟新的藝術生命。

上面。這種以精神思維去感知自然，再落於

Preface James Sum

Master painters Zhu De Qun and Zhao Wu Ji are two of my most important sources of artistic influences. Zhu De Qun’s pursuit of the blending of pictorial space and real space, not to depict anything objectively, but to use our body and emotions to feel and connect with the world, then paint out the ‘real’ reality on the canvas. This form of being one with the universe, with the Tao, before painting out that image, is a very traditional Chinese painting philosophy. However, the form of artistic expression is very Western, especially after he went to France, thereafter his artistic style became more and more abstract. Zhao Wu Ji has similar artistic inclinations with Zhu. After touring France, his artistic style transitioned from Cezanne and Picasso towards that of Paul Klee, a more free and casual form of expression. Objective and complete visual images have been dissected into various random symbolic elements, creating a sense of mystery and desolation. Zhu and Zhao’s artistic thinking gave me great inspiration for my own creative process, leading me to pursue greater creative freedom and explored how seemingly random elements can evoke new sensory and spiritual experiences of man. Zhu and Zhao’s use of colour and spatial composition had an especially deep influence on me. I was fascinated by this play of colours and space. I started experimenting with traditional and non-traditional mediums, using intense colours to depict a transcending yet encompassing artistic expression. More importantly, both artists view painting as a poem in physical form and in harmony with

After moving from Malaysia to Europe, I have always pondered on how to harmoniously integrate Eastern and Western artistic styles. I never felt it was just a simple case of mixing Eastern and Western elements together like in a jigsaw puzzle, but more of a real spiritual connection and dialogue between the two styles. From East to West, I have been influenced greatly by many masters, notably Chinese masters such Zhang Da Qian, Li Ke Ran, Fu Bao Shi and Lin Feng Mian. These Chinese masters are known for their strong foundations in traditional Chinese painting but yet have managed to successfully integrate Western artistic influences to reinvent the antiquated Chinese ink-wash painting tradition that was sorely in need of invigoration. Notable Western masters that influenced me include Romanticist Joseph Mallord William Turner’s intense atmospheric washes of paint that evoke the sublime, and Picasso’s amazing imagination of distorted and abstract figures. These influences formed a large portion of my Western artistic vocabulary during my early days. In my ever-changing process of artistic creation, I have always explored how to use these rich artistic nutrients of both East and West to integrate into my artwork, to create a real fusion of East and West. Whether I used the traditional Chinese medium of ink and rice paper or the Western medium of oil and canvas, I have always pursued a common unifying thread of artistic meaning that transcends all stylistic boundaries.

the universe. This is a very traditional Chinese painting philosophy and one that I pursue as well. Although my paintings appear Western and contemporary, but the inherent meaning and spirit presented are essentially that of traditional Chinese painting. In recent years, I have been focusing on the creation of abstract oil paintings, especially on the various ways in which colours interplay with one another. I am very honoured to be invited to present this exhibition in Taipei, and to be able to share my artistic creations with the local Taiwanese audience. In my never-ending pursuit of artistic creation, I continuously strive to innovate in unprecedented ways of artistic creation by assimilating all my processes and experiences as part of my personal journey, and similarly hope that the viewer can derive great pleasure and satisfaction from my artwork.

圖版

Artworks

色彩純粹

Pure Colour

靈動丘壑

Agile Hills

曠野奇探

Wilderness Exploration

對比趣味

Contrasting Joy

立體印象

Textured Impressions

揮灑流痕

Painting Drips

旋動心綴

Swirl in the Heart

色彩純粹色彩會影響人的視覺感受，看似簡單的色彩，都有深淺不同的生理和心理意義，色彩越是純粹，越能感受到細微的變化，岑健興十分擅長運用這些單一純粹的顏色，詮釋不同的情境，畫布就是他的色彩實驗室。此系列作品回歸了渾沌、和諧的色彩實驗，畫面中僅使用單一或兩三個色系，然而在濃淡深淺不同的線條與暈染中，我們可以看到中國水墨畫的美學表現與精神思維。例如《Blush 紅暈》，在這幅僅有單一色系的作品中，便呈現出層次豐富的紅，畫家在原本屬於西方式的抽象畫作中運用了「墨分五色」的墨法概念，在濃、淡、乾、濕的變化之間，於純粹的顏色中保有層次感，再加上留白的技巧，使整幅作品雖明亮而不懾人，令觀畫者完全沉浸於近乎「大道」的宇宙之中。使用數種顏色的作品中，畫家分別以不同的筆觸，表現顏色本身的性格，如《Expanse 廣闊》與《Isolated 與世隔絕》，較深或趨近於黑的色彩部分，以暈染、點畫、半自動性流動技法以及書法性線條等操作，以加強深色系的厚實感；白色的顏料則帶動其餘顏色，宛如氣息的流動，如《Cardinal 鮮紅色》作品中白色與紅色交界處的漸層，引入了抽象表現主義畫家馬克•羅斯科（Mark Rothko）的風格，邊緣模糊不清，營造出連綿不斷、模稜兩可的視覺效果。顏料經過稀釋，產生半透明的薄透感，彼此相互籠罩與暈染，使得明與暗、灰與亮、冷與暖融為一體，產生某種幻覺式的神秘之感。這種形與色的相互關係，彷彿象徵了一切事物存在的狀態。

Pure Colour Colour affects the visual perception of humans. Deceptively simple, different shades of colour evoke different physiological and psychological responses. James is very adept at using these single pure colours to evoke different emotions in his experimental canvas space.

This series of artworks returns to the colours experimentation of chaos and harmony. Although only 1-3 colours are used in total, but from their different variations of brush strokes and colour, we can discern the ideology and aesthetics of Chinese ink painting. Take “Blush” for example, although there is only a single colour in this painting but James fully demonstrates the Chinese ink painting aesthetic concept of “5 ink tones”, interweaving burnt, thick, light, dry and we to create a rich myriad of interesting textures. Appropriate areas of bright “liubai” brighten up the painting and ensures that the red does not become overbearing, allowing the viewer to totally immerse and lose oneself in the painting’s pictorial space. When multiple colours are used, James utilizes different brushstrokes to depict the different characteristics of each individual colour. For instance in “Expanse” and “Isolated”, the black and dark areas are emphasized with bold and strong strokes while white and light pigments are ethereal like flowing clouds. The blurring of boundaries between red and white in “Cardinal” suggest the influence of American Abstract Expressionist Mark Rothko, where the colours blend seamlessly into one another, extending infinitely into the mysterious pictorial space.

天藍的景象

Azure scene

41 x 30cm

布上油畫

Oil on canvas

廣闊

Expanse

80 x 60cm

布上油畫

Oil on canvas

與世隔絕

Isolated

80 x 60cm

布上油畫

Oil on canvas

無題2

Untitled 2

50 x 60cm

布上油畫

Oil on canvas

鮮紅色

Cardinal

50 x 60cm

布上油畫

Oil on canvas

紅暈

Blush

116 x 158cm

布上油畫

Oil on canvas

靈動丘壑岑健興藉由單一純粹的色彩指向了宇宙的廣渺，而後萬物生成。孕育生命的山水，是為本次展覽作品中最主要的題材之一。此系列的作品融入了中國傳統山水「寫胸中丘壑」的創作思維，同時畫面所呈現出的迷幻朦朧之感，則是來自於畫家長年居住在英國的自然經驗。由此可見，畫家並非僅是客觀的寫實作法，而是將記憶中不斷累積的自然景象融入了他的創作－－這也正是岑健興由始至終追求中西之間精神性連貫的藝術理念。在這些作品中，不同色彩的運用、光色透明度、明亮度與明暗的對比，均頗得印象派之精髓，即使最暗的陰影也是由幾乎難以察覺的不同層次的光和顏色構成。此系列五幅作品均使用了不同的主色調來表現山的樣貌，如《Mauve mountains 紫紅色的山》與《Ablaze 熾》分別使用了橘色系及紫色系，象徵了熱烈燦爛的日出或黃昏時分，以及沉靜幽窈的靜夜時分。這是由於光照時間點的不同，會在視覺上產生不同的色彩變幻－－如同與時間追逐的莫內（Monet）筆下不同季節、時辰的乾草堆－－畫家顯然掌握了自然景象在光影變化下所呈現的不同視覺樣貌，以及印象派豐富色彩變化的精髓。光影的變化會使景物的色彩變化多端，畫家使用山或水的顏色來表現，也顯現了畫家對自然的細微觀察，山間丘壑的風貌自由靈動的在畫家筆下躍然而生。畫作中亦可見畫家融合中國水墨畫的手法來表現油彩，如《Illuminated 發光》，以色彩的濃淡變化突顯出山體；《Ablaze 熾》以近似書法性的筆法勾勒山型；《Mist 薄霧》引用中國繪畫的留白概念，用白色顏料呈現出騰騰霧氣，使雲彩流動於山間。

Agile Hills James started with a single pure colour, analogous to the Eastern philosophy of being one with the universe. From empty space, next came vast land and water, which is the theme for these next few paintings. Artworks in this series depict the traditional Chinese ink painting landscape, while the psychedelic hazy mist emanating from the valley actually derives from his memories and experiences in hazy London. This form of painting from memory differs from Western painting methodology and is essentially Chinese where the artists also infuses his personal experiences and emotions into the creation. This series of works makes use of various colours, transparencies, and differing contrast of light and shade to depict the impressionistic quality of light. A dominant colour is used to depict the main mountains such as mauve and tangerine in “Mauve Mountains” and “Ablaze”. The other colours are then used to illustrate the different faces of the mountain, depicting light at different points in time, be it either warm bright sunrise or dark and quiet dusk. Changing light creates dynamism in the painting, making the mountains come alive under James’ skillful brush. We can also see the fusion of Chinese elements in the paintings such as “Illuminated Glow” where the different tones bring out the shape of the mountain; or “Ablaze”, where calligraphic brush strokes are used to outline the mountain outline; or “Mist” where the use of “liubai” brings out the steaming mist, flowing silkily amongst the mountains.

薄霧

Mist

60 x 60cm

布上油畫

Oil on canvas

發光

Illuminated

118 x 122cm

布上油畫

Oil on canvas

熾

Ablaze

76 x 76cm

布上油畫

Oil on canvas

紫紅色的山

Mauve mountains

91 x 76cm

布上油畫

Oil on canvas

升起

Rising

91 x 76cm

布上油畫

Oil on canvas

曠野奇探自然風貌中山與水是緊密相連的，山的生成也與水息息相關，而水是雕刻世界奇景的一大巨匠。無形的水能夠刻劃有形的山，無論是當作描繪的對象，抑或是以水作為媒材，皆可看見水的題材在岑健興的畫作中扮演著舉足輕重的地位。此系列作品描繪了各種不同風貌的海景，《Dawning 曙光》為晨陽升起時海面波光粼粼的金黃暖色系，《Storm 風暴》以少許藍紫冷色系點題，並用白色的顏料來強調海浪的翻騰，並使用紫色融合點綴，顯現出大海的神秘深邃。岑健興的作品經常巧妙地運用白色薄塗，使其有透明度，來表現氤氳的水氣，或是拍打的浪濤，把無形、透明的水化為有形。畫家以色彩的堆疊，與自然印象的結合，探訪著驚奇的世界。而《Serendipity 偶然》中的「serendipity」一詞，是世界公認為最美麗的詞彙。此詞源自於十四世紀的波斯神話，描述錫蘭三位王子徒步旅行各地，在旅途中的意外都能靠著智慧解決困難，當三位王子歷經磨鍊、返回家鄉後，他們發明了「serendipity」這個詞彙，以紀念旅程中一切在無預警的情況下所遇到的、學習的那些美好過程。《Serendipity 偶然》這幅作品，也就像神話傳說一般的可遇不可求，海象的萬變使得美景只存在於朝日一瞬，此作的海浪就像在似與不似之間，海底下的珊瑚岩礁經過折射，映出多彩的顏色，這樣的景色是一場美麗的相遇、意外的收穫。

Wilderness Exploration Mountain and water are tightly bounded within nature. Water is the greatest crafter in the world; flowing water, over time can carve out mountains! No matter as a subject or as a material, water is an indispensable source of inspiration in James’ artworks. This series of painting portrays various views of the ocean. “Dawning” is about when dawn’s sun rises above sea level. It’s warm golden atmosphere like a flickering light above the wave. “Storm” was done with a little cold purple and blue colour like a stormy sea. It mainly uses white paint to emphasize the swirling movements of the waves, and reflect how deep and mysterious the sea is. The skillful use of white paint is often shown in James’ work. It was often used to express opacity, moist air or splashing waves. “Serendipity”, like the word suggests, is a painting that exists only in the moment, a chance occurrence that cannot be planned. The waves above and the corals beneath radiating the colourful colours from reflecting light above, a beautiful encounter worthy of its name.

風暴

Storm

45 x 51cm

布上油畫

Oil on canvas

偶然

Serendipity

61 x 76cm

布上油畫

Oil on canvas

曙光

Dawning

118 x 122cm

布上油畫

Oil on canvas

對比趣味岑健興除了在純粹色彩實驗以及山水風景的描繪外，也一直嘗試著各種不同的作畫風格。此次畫展最早的一幅作品，是作於1995年的《Breakfast by the Pool 池畔的早餐》，顯示了畫家開始轉向西方靜物畫與抽象畫結合的嘗試。這幅作品描寫的是畫家女兒邀朋友遊玩，在水池邊吃早餐的景象。這些亮紅、明黃、鮮綠、亮藍、正白的顏色以及圓形、方形、菱形、三角形等拼湊的幾何色塊，無不展現著歡快愉悅的童趣感。在此後的同類型創作中，如《Abstract 抽象》、《Rooftop 屋頂》、《Untitled1 無題1》，畫家皆使用了極為鮮明強烈的色彩對比，明顯分割的幾何色塊，帶有些許畢卡索（Picasso）的風範。《Desolate 荒涼》這幅作品大量使用黑灰白的灰階色彩來呈現孤寂的遠景，有形的房子使用土黃色系以及紅色的顏料來點睛整幅作品，強烈對比的色彩使荒涼的感受更甚。在這些作品中，對比的顏色間，往往會以另一個色塊相互過渡，讓邊界出現模糊地帶，就好像我們透過水淋過的玻璃窗看著外面的世界，或是敲碎的玻璃反映著倒影，有形有色卻不是這麼的清晰透明，洗淨中的世界能夠堆砌出色塊，畫家心中的思維，有形貌似無形。

Contrasting Joy Apart from experimenting with colour and depicting landscapes, James tirelessly attempts various stylistic innovations. The earliest painting of this series is “Breakfast by the Pool” (1995). An indication of James attempting to combine still life object drawing and abstract painting. It’s a scene when his daughter invited friends to have breakfast near a pool. Bright red, light yellow, lush green, vivid blue and pure white, along with geometric shapes such as circles, squares, diamonds and triangles, creating a joyful and playful atmosphere. The other paintings in this series are “Abstract”, “Rooftop” and “Untitled 1”. In them, James uses strong and contrasting colours, in addition to distinct divisions of geometric shapes, with a slight Picasso spirit. In “Desolate”, the lonely distant landscape was depicted by mass amounts of gray hues. Houses were painted in khaki brown and red, which gives spirit to the whole painting. Highly contrasting colors emphasize the feeling of desolation. The mid colour between two contrasting pigments, blur the boundaries. They’re like a scene when looking out a wet window, or reflections through broken glass, able to make out shapes and colours but yet not crystal clear; a reflection of the inner mind of the artist.

抽象

Abstract

41 x 30cm

布上油畫

Oil on canvas

超越

Transcendent

41 x 30cm

布上油畫

Oil on canvas

屋頂

Rooftop

41 x 30cm

布上油畫

Oil on canvas

荒涼

Desolate

45 x 51cm

布上油畫

Oil on canvas

無題1

Untitled 1

50 x 60cm布

50 x 60cm

上油畫

Oil on canvas

池畔的早餐

Breakfast by the Pool

51 x 51cm

布上油畫

Oil on canvas

立體印象宇宙生成自然後，自然又鬼斧神工的創造萬物，就像岑健興的畫筆與顏料，永遠令人意想不到。畫家引入類似印象派式的碎裂點畫筆觸，完成豔麗多彩的作品。摺皺的顏料堆積出山脈的起伏，畫中散碎的色彩看似凌亂而無規範，實際上層次豐富，對比強烈而鮮麗，油彩層疊厚塗的筆觸像揉捏一般，讓畫面立體出來，充滿真實的稜角顆粒肌理，既有著隨機性，亦在畫家主觀的建構當中，呈現出自然物象經畫家內心轉化，而有著渾融一體的自然宇宙觀。在這一系列中，還包含以特殊視角描繪山水的作品。如2004年的《SeafrontMountain 鬱鬱蔥蔥的山》與《Miniature 微小畫》，這兩幅作品是畫家一次油彩的實驗，畫家顛覆了中國傳統山水畫的構圖方式，採用由空中俯瞰山海的獨特視角完成。

Textured Impressions From the Universe came Mother Nature, and thereafter the beginning of life in this world; just like James and his art, they never cease to amaze us. He borrowed dot-like brushstrokes from Impressionism, portraying works rich in colours. Layers of wrinkled paint accumulate to form the contours of the rolling hills. Splattered colours seem like they are disordered and disturbed, but in actual fact are multiple layers rich in contrasting textures. Those thick paints looking as if they are kneading the canvas, making it three-dimensional, and at the same time also giving it a realistic, granulated texture. Furthermore, it shows how the artist interpreted nature in his own subjective view of the universe. This series of works also included landscape painting that were created from an unconventional perspective. For instance, in “Seafront Mountain” and “Miniature”, these two artworks were the outcome of an oil painting experiment. The artist reinvented the traditional Chinese landscape composition structure, and used a top down aerial perspective instead.

微小畫

Miniature

25 x 13cm

布上油畫

Oil on canvas

鬱鬱蔥蔥

Seafront Mountain

46 x 35cm

布上油畫

Oil on canvas

三聯作

Triptych

30 x 75cm

布上油畫

Oil on canvas

揮灑流痕岑健興的風格多變，媒材多元，創作手法豐富。在《Lagoon 潟湖》中，畫家以半自動性技法，製造大量如水滴滑落的水痕，而在《Sunset Highland 日落高地》與《Purple Scape 紫花葶》中，更同時以流痕刻畫出枝幹與山石的紋路或刻意斑駁的痕跡。《Purple Scape 紫花葶》中花葉壟罩天地，想像自己是微小的蝴蝶，紫色的花就是休憩的小亭，花的根部處以水痕來表現土壤，土壤的顏色為明亮的黃色，土壤中的水分是鮮明的藍色，反襯出紫花的生生不息。《Sunset Highland 日落高地》用較薄的顏料製造出流動性，畫家以此種美國抽象表現主義的手法，結合水墨畫的寫意思維，注重於山水精神的捕捉描繪，以及創作者胸中意趣的抒發展現。畫中大量的流痕亦表達著生命流動、萬物生息，畫家的筆下也傾注著大自然的生命力。

Painting Drips James works with various styles, techniques and materials. In the painting “Lagoon”, the artist used semi-automatic technique for dripping-like watermarks; while in “Sunset Highland” and “Purple Scape”, he mottled stones and branches in drip painting technique. The “Purple Scape” is filled with lush flowers and leaves, and one could imagine himself or herself as a butterfly, resting upon those purple flowers. The earth beneath is bright yellow, soaking up the vivid blue water below, complementary colours that make up the sustainable ecosystem that nourishes the yellow flowers. In “Sunset Highland”, thinner colour was used to create the effect of paint streaming down the canvas. This is an innovative combination of the Abstract Expressionism’s oil painting and Chinese ink painting’s semi-automatic technique. The painting emphasizes the expression of motion and selfreflection. The streaming colours represent the vigours of life, while the strong brush strokes reflect the power of Mother Nature.

潟湖

Lagoon

50 x 60cm

布上油畫

Oil on canvas

日落高地

Sunset Highland

80 x 60cm

布上油畫

Oil on canvas

紫花葶

Purple Scape

91cm x 71cm

布上油畫

Oil on canvas

旋動心綴從宏觀的世界延伸到微觀的細節，作者的審美及觀察從大到小。在此系列中，《Tempest 暴風雨》、《Vermilion 朱紅》及《Untitled 3 無題3》三幅畫作的中央都運用大量紅色作為主色系，隨興潑灑的顏料散落在紅色周圍，以近似於水墨潑彩的方式使用西方油彩，彷彿是即興創作的靈感迸發，隨著畫家的筆噴灑出來。抽象思維激發著顏色的相互碰撞，擦出絢爛的火花。宇宙的混沌形成自然，再造生命。人類為萬物之靈，畫家從本質中去尋覓人的中心思維，這是一個從簡單到繁複的過程，岑健興的作品也有著這樣的過程，從純粹單一的顏色、色塊、筆觸慢慢堆砌為平面的、鳥瞰的景物，再到人文思維的抽象表達。《Mirage 蜃影》這幅作品是此次畫展中唯一一幅出現人物的畫作，我們可以看到具象與抽象之間的衝撞，畫家用工筆描繪了人物的面容，黏著於大面積色塊的邊緣，宛如幻夢。色塊中充滿抽象色彩表達與旋轉的筆觸，畫中女子側看著這些抽象的筆跡，人物輪廓線與抽象色彩間清楚的切割開來，彷彿這些抽象的色彩讓畫中女子有更多的思考。

Swirl in the Heart The artist shows his audience a journey that starts from a macro perspective to the finer micro details. In this series, all three paintings, “Tempest”, “Untitled”, and “Vermilion”, were mainly in red. Paints were randomly splattered around red and uses Western oil painting in Chinese splash ink and color style. As if inspiration were floating out of the artist brush. Abstract thinking spurs different colours collide and burst into sparkles. The chaos of the universe forms nature and recreates life. Human are the lords of creations. And artist discovers people’s central thoughts from the essence. This is a process that begins from simple to complicate. James also has this kind of process in his work. It starts with a single colour, a patch, then slowly construct into a horizontal or overlooking scene, and come back to abstract expression of humanity. Take “Mirage” for instance, it is the only piece of figure painting. Abstract expand figurative form collides. Using neat brushstrokes to outline the figure. The brush strokes along side patches of color like a dream. The canvas was filled with swirling and abstract color. The lady in the painting seems to be looking at these brush strokes on the side, as if were thinking due to abstract colors.

朱紅

Vermillion

41 x 30cm

布上油畫

Oil on canvas

無題3

Untitled 3

41 x 30cm

布上油畫

Oil on canvas

暴風雨

Tempest

80 x 60cm

布上油畫

Oil on canvas

蜃影

Mirage

46 x 61cm

布上油畫

Oil on canvas

藝術生活剪影與年表

Self Biography

1995

於海德公園畫廊舉辦個展 Solo Exhibition in Hyde Park Gallery

Catto夫人頒發英國皇家水彩協會傑出新人獎 Mrs Catto presenting the RWS 1995 “Outstanding New Entrant” award

於河岸畫廊接受鳳凰電視台專訪 Phoenix TV interview at Bankside Gallery

與Catto夫人於獲獎畫作《寧靜》前合影獲頒英國皇家水彩協會傑出新人獎 RA president welcome for 1995 RWS prize giving

2000

與英國皇家水彩協會總理 Richard Seddon合影 With Royal watercolor society President Mr Richard Seddon

With Mrs Catto in front of James’ award winning painting

2002

與司徒立於其巴黎工作室合影 With mentor Mr Szeto Lap in his Paris studio

2001

於中國廣州「2002世界中國藝術&書法展覽」參展 Guangzhou World Chinese Art and Calligraphy Exhibition

於「國際鍾靈藝術家邀請展」參展 International Chung Ling artists invitation show

2004

議員鄭文華為其於倫敦Mall畫廊舉辦之個展開幕剪綵

與Jimmy Choo一家人、二女兒於 James畫廊合影

Taiwan Representative Mr. Cheng Wen Hua, opening solo exhibition in Mall Gallery

Jimmy Choo’s family with James’ daughter Shirley (2nd right) at James’ Gallery 92

2005 2010 於馬來西亞檳城「五友藝術展」參展 Five Friends exhibition in Penang , Malaysia

2006

與馬來西亞藝術協會理事長 Zanita Anuar合影 With Director Zanita Anuar

《黎明的山谷》作畫情景 “Dawn at Valley “, painting in progress.

2008

於中國深圳「國際文化藝術世界博覽會」參展 Shenzhen International Cultural Art Expo.

2009

與《黎明的山谷》合影於怡保麗茲花園酒店 Photo with finished painting, “Dawn at Valley” at Ipoh Ritz Garden Hotel.

2015

「國際藝術展」於台中 Group exhibition in Taichung

「國際藝術展」於台南 Group exhibition in Tainan

與邦翰斯拍賣董事長Mr. Colin Sheaf 一同用餐 Lunch with Bonham’s Auction Director Mr. Colin Sheaf.

與金門市長於「國際藝術展」合影 Group exhibition in Kinmen with the Mayor 93

簡歷

1944

‧出生於馬來西亞檳城

1957

‧獲馬來西亞檳城「北馬來西亞發展藝術大賽」二等獎

1958

‧「北馬來西亞發展」藝術大賽聯展 ‧「檳南中國藝術年展」參展‧「檳南藝術協會年展」參展

1960

‧吉隆坡「馬來西亞藝術協會年展」參展

1961

‧日本東京「第五屆青年藝術家展覽」參展

1962

‧馬來西亞泰鵬「六位青年藝術家展覽」參展

1964

‧與馬來西亞已故Poh Tai Mun先生共同聯展

1965

‧赴南艾爾蘭都柏林攻讀美術

1966-1968

‧赴倫敦卡斯藝術學院專修純粹美術與平面設計

1968-1971

‧深造於倫敦伯勒理工學院（現為南岸大學）室內設計系

1969

‧榮獲「全倫敦標誌比賽」第一名 ‧榮獲「理想家居展藝術比賽」第一名

1971

‧任職於英國HEALS室內設計公司及英國某出版公司任設計主任

1976

‧倫敦「皇家藝術學院夏季展」參展

1979

‧於英國倫敦「福伊爾畫廊」舉辦個展

1980

‧英國倫敦「Harringay藝術協會聯展」參展

1982

‧於北倫敦先後開設八間馬來餐館，空閒時勤於繪畫創作，最擅長現代中國畫

1983

‧受邀於英國倫敦「Promenade畫廊」展出作品 ‧受邀於英國倫敦「Long畫廊」展出作品

1984

‧受邀於英國倫敦「Long畫廊」展出作品

1990

‧受邀於英國倫敦「Collection Dix-Sept畫廊」展出作品

1992

‧受邀於英國倫敦「Collection Dix-Sept畫廊」展出作品

1994年於倫敦明愛學院舉辦個展 Ming Ai Institute, London 1994 - Solo exhibition 1994

‧於倫敦明愛學院舉辦個展 ‧於英國聖茲大學舉辦個展 ‧英國倫敦「皇家藝術學院夏季展」參展

2004年於馬來西亞檳城藝術團體展參展 Peng Art - Group exhibition in K.L Malaysia, 2004

2011年入選北京「世界華人楷模名人堂與自畫像」郵票用圖 The World Chinese model of Fame book, 2011

1995

‧榮獲英國「皇家水彩學院夏季公開展傑出新人獎」‧於倫敦「海德公園畫廊」舉辦個展 ‧英國「倫敦皇家藝術學院夏季展」參展 ‧英國「皇家水彩學院夏季展」參展 ‧作品登上倫敦佳士得拍賣公司夏季與冬季拍賣

1996

‧於馬來西亞「檳州藝術畫廊」舉辦個展 ‧作品登上倫敦與巴黎佳士得拍賣公司夏季拍賣 ‧作品登上倫敦蘇富比拍賣公司夏季拍賣

1997

‧於中國北京展覽館「雲峰畫苑畫廊」舉辦個展

1998

‧「英國倫敦皇家藝術學院夏季展」參展

2001

‧於倫敦「Mall畫廊」舉辦個展 ‧馬來西亞吉隆坡「鈴下的風」展覽參展

2002

‧深造於「倫敦威爾士親王繪畫工作室」 ‧馬來西亞檳城「國際鍾靈藝術家邀請展」參展 ‧中國廣州「2002世界中國藝術&書法展覽」參展

2004

‧於倫敦「維多利亞與艾伯特博物館」展出作品 ‧馬來西亞檳城藝術文化中心「檳城藝術團體展」參展 ‧馬來西亞吉隆坡「檳城藝術團體展」參展 ‧作品登上倫敦蘇富比拍賣公司夏季拍賣

2005

‧於馬來西亞檳城藝術文化中心舉辦個展 ‧作品登上倫敦蘇富比拍賣公司夏季拍賣 ‧馬來西亞檳城藝術文化中心「五友藝術展」參展 ‧馬來西亞「阿爾法烏達拉畫廊開幕展」參展

2006

‧於馬來西亞檳城「阿爾法烏達拉畫廊」舉辦個展 ‧新加坡第七屆「國際書法交流展」參展 ‧於馬來西亞檳城「KDU藝術畫廊」展出作品

2006

‧於馬來西亞吉隆坡星山「閣樓畫廊」舉辦個展

2007

‧於馬來西亞「阿爾法烏達拉畫廊」展出作品 ‧於泰國「台元畫廊」展出作品

2008

‧中國鄭州第四屆「亞洲新表現藝術展」參展 ‧中國深圳「國際文化藝術世界博覽會」參展

2009

‧於臺北、臺中、高雄、金門參加「國際藝術展」

2010

‧第五屆「國際文化藝術世界博覽會」參展

2011

‧入選北京「世界華人楷模名人堂與自畫像」郵票用圖

2014

‧入選「世界65中國名人堂和海外中國模範」郵票用圖

BIOGRAPHY 1944 1957

- Born in Penang, Malaysia - Second prize “Development of North Malaya” art competition, Penang, Malaysia - Group exhibitions at “Development of North Malaya” art competition,

1958

sponsored by the Penang Education Department, Malaysia - Group exhibitions at Penang Art Society annual show - Group exhibitions at Penang Chinese Art association annual show

1960

- Group exhibitions at Malaysia Art Society annual exhibition, K.L., Malaysia

1961

- Group exhibitions at 5th Asian Young Artist Exhibition, Tokyo, Japan

1962

- Group exhibitions at 6 Young Artist Exhibition, Taipeng, Malaysia

1964

- Joint Exhibition with late Mr. Poh Tai Mun, Penang, Malaysia

1966-1968

- Studied at Sir John Cass School of Art

1968-1971

- Studied at South Bank University, formerly Brixton School of Building

1969

- First prize, All London logo competition, London - First prize, Ideal Home exhibition, art competition, London

1976

- Group exhibitions at Royal Academy of Art, summer exhibition, London

1979

- Solo exhibitions at Foyle's Gallery, London

1980

- Group exhibitions at Harringay Art Society, London

1983

- Solo exhibitions at Promenade Gallery, London

1984

- Solo exhibitions at Long Gallery, London

1990

- Solo exhibitions at Collection Dix-Sept Gallery, London

1992

- Solo exhibitions at Collection Dix-Sept Gallery, London - Group exhibitions at Royal Academy of Art, Summer Exhibition, London

1994

- Solo exhibitions at Ming Ai Institute, London - Solo exhibitions at St Edmunds college, Ware, Hertfordshire, U.K. - Group exhibitions at Royal Watercolour Society Summer Open exhibition “Outstanding New Entrant” award, London

1995

- Group exhibitions at Royal Watercolor Society, Summer Exhibition, London - Solo exhibitions at Hyde Park Gallery, London - London Christies Summer & Winter Sales, London

1995年與中國藝術評論家胡東放先生於倫敦河堤藝廊 With Chinese art critic Mr Hu Dong Fun at the London Bankside Gallery.

- Group exhibitions at London and Paris Christies Summer Sales, London 1996

- Group exhibitions at London Sotheby’s Summer Sales, London - Solo exhibitions at Penang State Art Gallery, Malaysia - Solo exhibitions at Wan Fung Gallery, Beijing Exhibition Centre, China

1997

- Solo exhibitions at The Art Gallery, Penang, Malaysia 96

1998 2001

- Group exhibitions at Royal Academy of Art, summer exhibition, London - Group exhibitions at “Wind Beneath the Bell” exhibition, K.L., Malaysia - Solo exhibitions at Mall Galleries, London - Group exhibitions at International Chung Ling Artists Invitation Show,

2002

Penang, Malaysia - Group exhibitions at Guangzhou 2002 World Chinese Art & Calligraphy Exhibition, China - Group exhibitions at Victoria & Albert Museum, London - Group exhibitions at Penang Art-group, exhibition USM-ARN Art & Cultural,

2004

Penang, Malaysia - Group exhibitions at Penang Art-group exhibition, Kuala Lumpur, Malaysia - London Sotheby’s Summer Sales, London - Group exhibitions at London Sotheby’s Summer Sales, London - Group exhibitions at 2005 5 Friends Art Exhibition, USM-ARN Art Centre,

2005

Penang, Malaysia - Group exhibitions at Inaugural Exhibition, Alpha Utara gallery, Penang, Malaysia - Solo exhibitions at USM ABN AMBRO Art Cultural Centre, Penang, Malaysia - Group exhibitions at The 7th International Calligraphy Exchange exhibition, Singapore

2006

- Group exhibitions at KDU Art gallery, Penang, Malaysia - Solo exhibitions at Alfa Utara Gallery, Penang, Malaysia - Solo exhibitions at Star Hill “The Loft” Gallery, Kuala Lumpur, Malaysia

2007

- Group exhibitions at Alpha Utara gallery, Penang, Malaysia - Group exhibitions at Tai Yuen gallery, Chiang Lai, Thailand - Group exhibitions at The 4th Exhibition of New Expression of Asian Art,

2008

Zhengzhou, China - Shenzhen International Cultural Art Expo, China

2009 2010 2009年「國際藝術展」於台北

2011

Group exhibition in Taipei, 2009

2014

- Group exhibitions at International Art Exhibitions at Taipei, Taichung, Kaohsiung, Kinmen, Taiwan - Group exhibitions at 5th International cultural Art expo, Shenzhen, China - The World Chinese Model of Fame and Self-portrait stamp, Beijing, China - Group exhibitions at Royal Academy of Art, Summer Exhibition, London - World 65 Chinese Hall of Fame and Overseas Chinese Model stamp

圖版目錄

List of Artworks

P 20

天藍的景象

Azure Scene

41x30cm

P 22

廣闊

Expanse

80x60cm

P 24

與世隔絕

Isolated

80x60cm

P 26

無題2

Untitled 2

50x60cm

P 28

鮮紅色

Cardinal

50x60cm

P 30

紅暈

Blush

116x158cm

P 34

薄霧

Mist

60x60cm

P 36

發光

Illuminated

118x122cm

P 38

熾

Ablaze

76x76cm

P 40

紫紅色的山

Mauve Mountains

91x76cm

P 42

升起

Rising

91x76cm

P 46

風暴

Storm

45x51cm

P 48

偶然

Serendipity

61x76cm

P 50

曙光

Dawning

118x122cm

P 54

抽象

Abstract

41x30cm

P 56

超越

Transcendent

41x30cm

P 58

屋頂

Rooftop

41x30cm

P 60

荒涼

Desolate

45x51cm

P 62

無題1

Untitled 1

50x60cm

P 64

池畔的早餐

Breakfast by the Pool

51x51cm

P 68

微小畫

Miniature

25x13cm

P 70

鬱鬱蔥蔥

Seafront Mountain

46x35cm

P 72

三聯作

Triptych

30x75cm

P 76

潟湖

Lagoon

50x60cm

P 78

日落高地

Sunset Highland

80x60cm

P 80

紫花葶

Purple Scape

91x71cm

P 84

朱紅

Vermillion

41x30cm

P 86

無題3

Untitled 3

41x30cm

P 88

暴風雨

Tempest

80x60cm

P 90

蜃影

Mirage

46x61cm

流光幻景

旅英大馬華裔名家岑健興個人畫展 James Sum Solo Exhibition

Flowing Mirages

作

者

岑健興（James Sum）

發

行

墨海樓國際藝術研究機構

策展人

葉國新

副策展人

Evelyn Fang

文字編輯

陳麒如蕭文華

英文翻譯

Damien Lau 邱惟

美術設計

Damien Lau 卓怡吟

印

湯承科技印刷股份有限公司

刷

出版日期

2016年4月

潘杰