ArtPillar-吳日勤 by 林冠穎

溯

源

最新作品集 2012~2018

吳日勤畫展序王哲雄教授

法國巴黎第四大學藝術史與考古學博士國立台灣師範大學美術系所前系主任所長

者和觀眾；所以觀眾不可能完全遵循創作者的理念導引去瞭解或觀看作品，因為創作者的經驗不等同於觀眾的經驗，羅蘭巴特認為「創作者等於神」（author-

本人與吳日勤是師生關係，在他大學時代，教過他「西洋現代與當代藝術

God）的時代已成過去式；二十一世紀的藝術批評家固然不再是操持創作者生

史」。筆者始終認為自己是藝術史的研究學者，而不是藝術批評家；儘管寫過

殺大權的劊子手，但也不是全然替藝術家詮釋創作思維或為其豎立派別旗幟的

國內外為數不少的藝術評論文章，然而一直秉持著身為史學者該有的「史實」

幫手，藝術評論有其特殊的獨立角色要扮演。藝術評論其實是創作的再創作，

與「史證」，作為討論藝術家創作方向或分析作品的客觀依準。

也就是說藝評家要在「藝術作品與藝術家」、「藝術作品與社會」、「藝術作品與觀眾」三者的權衡中建立一種個人對藝術作品，價值評斷的概念與機制。

一位藝術家的成長形塑，除了學校的養成教育之外，最重要的還是在對時

是故，「作品」才是真正要討論的終極「文本」。

代的發展與變遷當中，牽動經濟文明與文化價值觀擺盪之間，他所持的認知心

態和認同焦點，是否作出了正確的判斷和明智的選擇。在藝術創作的志業裡，

吳日勤現階段作品的產生，來自「溯源」的概念。自從加拿大學者麥克魯漢

正確的判斷意味著無利害關係干擾下的縱深觀察，明智的選擇縮減了迂迴環繞

（M.McLuhan 1911-1980）於 1960 年代提出「地球村」(global village.)

嘗試錯誤的虛耗。藝術家最具體、最具說服力的所謂「創作理念」之最佳代言

的想法時，對弱勢、古老或封閉性文化的「認同」(Identity)，由於媒體的強勢

人，就是他的「作品」；如是說法，絕不是否定藝術批評存在的必要性，更不是

發展，反而趨於有利的地位。趙無極和朱德群成功地將東方山水和書法的精神

忽視藝術家創作思維與觀念的重要。說得更直白一點，作品本身就是一種視覺

性，融入西方的抽象繪畫語彙，雙雙列入西方當代藝術史崇高的地位。吳日勤出

語言，它會說話、自我陳述；如果一位創作者，無法透過他的視覺語言，將他

生於台灣本土，他的「溯源」與「認同」是相對的複雜而多元；對他而言，是

的創作觀念或想法說出而讓人有感，還要借重文字的論述，這不等於自曝其短

項艱巨的挑戰任務。水墨精神、書寫性線條要代表台灣，象徵東方，雖然邏輯

嗎 ? 創作者的想法絕對要有，但必須透過視覺媒介或載體來傳達表述，更不用

上有點曖昧，尚可免強過關，但是要與西方「物質性」偏強的「拼貼」（collage）

說當一部著作或藝術作品一旦完成，就像法國哲學家羅蘭巴特 (Roland Gérard

相融統調，增強鄉土情懷的擴張力，那麼對「拼貼物」的質性或作為載體的功

Barthes1915-1980) 所言 : 「作者的終結，就是讀者的誕生」。（Image

能性可要慎重選擇。「拼貼」的技法源自「立體主義」(Cubism) 布拉克 (G.

Music Text, Hill and Wang, New York,1977.）解讀與詮釋權已經轉移到讀

Braque) 和畢卡索 (P. Picasso)，各自在 1912 年於他們的畫作貼上模仿木頭

紋路的片段壁紙或貼上籐椅編籐形式的漆布，當時稱這種技法為「貼紙」(Papier

element) 的交融並蓄，也就是說以台灣文化藝術為本位，尋找同質的他種文化

collé)；「拼貼物」的使用大致以平面的報紙、壁紙、漆布之類的片段，只是為

風貌結合，和異質不相容的他種文化共存，關於這一點我們對他有期待，但誠

了呈現不同材質的現實肌理外，別無其他用意。「拼貼」技法演變到 1916 年

如稍前的陳述，除了不容易還要慎重。吳日勤現階段的繪畫尚有一種特質就是

「達達主義」（Dadaism）的時候，「拼貼物」不但從平面明信片、舊票根、

抽象表現的形式中，經常會出現或潛藏具象形體，目前去討論或去詮釋所可能

郵票、轉向有厚度的鐵絲網、繩索、輪胎甚至有體積的浮木、現成物，並且負

涉及的審美問題還過早，筆者愛才，寧可將其視為他的特質，靜待他的才華去

載著傳遞特殊訊息的效能，尤其柏林達達的豪斯曼 (Raoul Hausmann)、霍哈

精化他的本我。

(Hannah Höch)、哈特費爾德 ( John Heartfield) 所使用的「拼貼物」：照片蒙太奇 (Photomontage) 的影像，具有強烈的政治批判寓意。1950 年代「新

綜觀吳日勤的創作，有大匠的氣度，天賦異稟，他卓越的成就是指日可待

達達」（Neo Dada）的羅森柏格（Robert Rauschenberg）以日常現成物諸

的，為師者除了以此序文祝他展出成功外，還是提醒身為創作者，「作品」本

如山羊頭標本、水桶、枕頭、收音機之類的「拼貼物」與他的繪畫作品串連一

身才是最重要的「文本」。

起而稱之為「串連繪畫」(combine painting )，傳遞工業文明降臨的訊息。吳日勤主張台灣當代繪畫意識的自主性，筆者強力表示讚同，以他的膽識與魄力是可期待的。原本就是水墨書畫的能手，再到英、美接受西方現代藝術創作的完整訓練，最後選擇了抽象表現的形式作為現階段開闢自我面貌的創作研究。吳日勤最大的優勢是下筆的自信和果斷，東方書法講究的行氣貫串、猶豫不得一氣呵成的能量，完全凸顯了西方抽象表現的特徵與特質；意到筆不到的書寫性粗黑線條，經常伴隨著濃淡漸層變化通暢淋漓的單色塊面，再以小型噴槍 (Airbrush Spray Gun) 順勢噴灑出速度感、大小粗細不一的黑色點，這種控制中的自動性技法，讓吳日勤擺脫西方抽象表現主義純粹以「滴漏」(dripping) 堆疊畫面可能的「意外」(accident)。然而，吳日勤並不以此自滿，他不斷地尋求各種可能性的「同位元素」 (isotopic element) 與「相對元素」(Relative 6

吳日勤的「東方抽象表現」廖新田台灣藝術史研究學會理事長

馬現代美術館館長巴馬．波加蘭里說，中國美術進入國際性現代繪畫的過程中仍

台灣抽象藝術的興起，在日本時期並未有明顯的蛛絲馬跡，超現實主義加

馬大學美術史助教兼美術批評記者毛里刺．法喬里以為，中國現代畫展具有東方

上帶有狂野的野獸派，在印象派的圍繞下可算是稍具前衛的表現形式。戰後台

美術靜穆冥思的特徵，是世界抽象畫比較合理的道路。這些外部觀察顯示出台灣

灣，渡台現代畫家中有李仲生和朱德群、趙春翔等組成現代畫聯展，而何鐵華

六七○年代美術現代畫的路徑是與西方抽象、構成接軌的中國現代「化」下的中

於 1950 年開辦《新藝術》及「新藝術研究所」宣揚現代藝術理念，這才開始

國現代「畫」。以前輩畫家劉國松、李錫奇為例，他們致力於從中國書法中萃取

奠定台灣現代藝術的根基。特別是李仲生，不但加入中國最早的現代藝術團體

抽象元素於創作中，以拓印、刷痕、肌理等技法模仿筆墨的運動軌跡，卻保留了

「決瀾社」，也在台灣以個人之力培育第一批優秀的年輕現代藝術家，爭相效

中國繪畫與文字中線條的運動狀態，造形與文化風格極為鮮明。

保有優秀傳統的特徵，在傳統中提鍊出精髓而產生的抽象畫接近西方的品味；羅

尤之下，以師大為主的「五月」、以北師為主的「東方」為台灣現代藝術繳出兩張亮麗的成績單。

這一段台灣中國現代畫簡史的摘述，意在表明台灣的「東方抽象」表現已有超過半世紀的歷史，吳日勤的帶有強烈東方風格暗示的抽象畫，在我看來，必

然而，值得注意的是，作為「台灣現代繪畫導師」的李仲生，雖受過日本前

須從這個歷史的視野來檢視，才有更深刻的意義與價值。吳日勤受過完整的書畫

衛團體的影響 ( 如黑色洋畫會 )，其所持現代抽象藝術卻是有文化認同的反思，

訓練，對中國書畫精神之掌握不在話下，從這裡出發所轉換出來的抽象繪畫，應

認為「前衛繪畫（或我國的國劇、書法和金石等藝術）固然能夠有限度的說明，

該說毫無疑問是有深層的文化聯繫。在簡約快速的色塊中，他以黑色線條貫串其

但說明所用的語言文字本身也常常很專門，帶有濃厚的暗示性和象徵性。」(〈論

中，讓畫面有了東方美學的基調－一種以線條質感為主宰的抽象，那是西方文化

現代繪畫〉，《雄獅美術》1979/11)。這裡說明，台灣的抽象繪畫，並非純然

所缺乏的視覺表現 ( 倒是有回過頭來模仿中國線條的不少西方藝術家，也是表現

可從歐洲的「熱抽象」、「冷構成」、「歐普」，或美國的「抽象表象主義」、

傑出 )。要提醒的是，吳日勤以將線條的表情以其深厚的書畫訓練詮釋，在轉折

「普普」加以解釋，而是有其自身的文化轉譯所咀嚼出來的在地抽象風格，獨特

之間具見這些表現，相當精彩而融合。當然，我在作品中也感受到吳日勤精彩地

而具有辨識度，或可暫名為「東方抽象」表現 ( 雖然「東方」一詞有刻板印象的

融會了西方的抽象表現性以及瞬息萬變的效果，黑色線條如神龍般在高彩塊面中

疑慮 )。1965 年年初，一場中國現代畫展在義大利盛大展出，幾位義大利藝術

「調和鼎鼐」、「縱橫全場」，讓東方文化和西方文化在此有了美麗的、精彩的

界人士便提出類似的解讀與看法。例如，美術史教授兼國際美術批評家協會主席

邂逅。他的一氣呵成或可以「暢快淋漓」形容之，由如高歌哼唱的大快人心。當

阿岡認為是：「中國現代美術與西方現代美術接觸後所產生的新復興運動」；羅

然，何時有慢曲小調，娓娓道來造形之情趣，更讓人期待。

凝想形物 -

當代抽象表現繪畫轉化的契機

元墨畫會會長蕭巨昇博士撰油畫，在日據時代藉由日本人引渡來台，距今已逾百年。當時，日本人以

言，所有的可能都是可能，所有的不可能，當然更是「最為理想的可能」，「文

其本位主義的觀點，認為台灣的作品必須具有日本人所認知的「台灣味」，也

化表徵的挪用」與「文化內涵的銷融、轉換與再生」，必然是分頭進行，同時並

就是一種具有南島風情的「灣製」風格，為了符合日本人的口味，台灣的油畫

存的，表現於有象與無象、有識與無識之間，易言之，是是又非非、具象又無象、

呈現一種熱帶風情的鄉土寫實風格，或許可以說這是台灣藝術的第一次鄉土化

有意又無意，似有若無之間，可視為藝術本土化創作的超然之境，是一種徘徊

運動。在大陸，油畫自明季引進，至今已逾兩三百年，一直是處與模仿的階段，

在天才與蠢才的臨界點之間，迂迴於大巧若拙、大智若愚的藝術底蘊之中。

以模仿歐美各個畫派為主軸，直至二十世紀末，才在「油畫民族化」的引導下，展開油畫在地化的工程，當代畫家張仃於 1980 年為吳冠中撰寫《民族化的油

「書寫」，是書法運筆的藝術化，側重於情感的抒發 ﹔「書寫」，更是水墨

畫 . 現代化的國畫》一文，可視為大陸油畫「民族化」思潮的一個重要註腳。然

繪畫筆墨的總和，具有東方水墨五千年的文化厚度，更承載著現代抽象繪畫創

而「民族化」具有強烈的排他性，格局易小，氣度日無，如能將外來藝術與當

作的文化深度，當代抽象畫家吳日勤博士的藝術，正是游離在西方藝術思潮與

地人文相融，成為當地文化藝術的一部分，以「本土化」取代「民族化」，將

回歸東方文化精神內涵創作的成功典範，其將物象抽離型態的軀殼後，轉化為

使當代藝術具有更深的深度、與更廣的氣度，不失為對外來文化吸收、融合的

東方繪畫精神性的書寫表現，展露東方情調的抒情趣味。在吳教授的一系列創

最好典範，例如南朝梁張僧繇融合西域畫法所形成的「凹凸畫」、又如明代畫

作中，在看似有意無意之間的信筆揮毫之間，看是無象，似又有象，看似西方，

家張鯨折衷西法創「如鏡取影，妙得神情」的「波臣畫派」等，都是很好的例子。

實又東方的創作，便是現代抽象繪畫書寫所要表達的厚度與深度，不僅僅是歐美抽象繪畫表現「本土化」的典範，更為當代抽象繪畫表現拓展了新的契機與

或許可以說，任何文化、任何藝術的本土化過程，都會體現於兩個層面之

可能。

中，一個是文化表徵的挪用，是藉由本土性的風土民情，作題材上的代位處理，或是做為結構性的再詮釋表現，這算是一種較為廣泛、而輕便的本土化捷徑 ﹔ 其二，則是文化內涵的消融、轉換與再生，這是超脫一切物象、一切有意識的創作，換句話來說，是一種無相、無識、無念、無妄的精神境界，這非得是具有相當天份的藝術家才能登臨，一般泛泛之輩是無法企求的。然而，對一個藝術家而

吳日勤的繪畫 -

書法表現式創作文 / 陸承石

( 英國東倫敦大學藝術博士 / 上海工程技術大學專任助理教授 )

案 , 而是不同的可能性。比方在日勤的繪畫手段裡 , 直覺式的筆觸或刷痕 , 便是初觀吳日勤的繪畫 , 人們很難不被其氣勢雄邁的筆刷線條所吸引 , 時而渾厚 ;

趨向自由意志的展現 , 我們在他的瀟灑中看到了精確性 , 不是因為他的作品展現

時而蒼勁 , 時而虛渺 ; 時而虯韌 . 種種特徵 , 皆能夠簡易地被連結到書法藝術 ,

了完美 , 而是先把心中所認知的可能完美 , 帶到了另一個層次 , 然後經由記憶的

或是禪學云云。不錯 , 在吳日勤的早期藝術養成中 , 那些訴諸於類似一筆定江山

收縮與重組後 , 界定出自身所屬的完美 , 並在持續性的某個時間點上詮釋出來。

的創作方式 , 確實深植於其往後的繪畫之中。無論是某種氣韻生成之前的心理

至於日勤對於完美的認知 , 當然得因於其所有過去對於東方書道所體悟所習得的

準備 , 或者下筆剎那的專注性 , 似乎都帶有深層的玄奧。然而 , 快速的、直覺式

內涵 , 並在筆刷一次又一次接觸到畫布時 , 將其精心安排過的造型 , 表露無遺。

的刷痕 , 其實有著更豐富且具體的意涵。

以上所說 , 主要是對於下筆的時刻 , 一種類似於禪宗所強調的一種內在的神秘動能 , 然而 , 當線條筆觸成形時 , 卻又格外清晰具體，換言之 , 直覺的一次性 ,

在此 , 不妨先從時間的持續性談起。亨利 . 柏格森認為 , 直覺不是一種感覺

皆伴隨著過往的重複性 , 吳日勤的每一筆每一劃 , 都是其記憶的能指。這些能指

或者靈感 , 而是已經充分發展的方法 , 也就是他稱之為 “ 精確性 ” 的方法。人們

在其近期的作品看來 , 無疑是以其筆刷 , 來試探傳統山水意象的種種可能性，有

對於當下時間的知覺 , 是囊括了所有對於過去時間的回憶 . 類似的是 , 在繪畫中

別於以往的書寫式抽象表現 , 此次個展多以形象化的筆觸線條所組成 , 有的是東

下筆的那一刻 , 無論多短暫 ? 都同時涵蓋了過去經驗的累積 . 而柏格森認為 , 存

方水墨構圖中常見的山嶽 , 有的則是趨近於錐體的幾何符號 , 然而 , 事實上 , 可

在於當下中的記憶片段 , 雖然是收縮與重組後的樣子 , 但仍然能夠折射出所有過

能什麼也不是，之所以如是說 , 是因為日勤所呈現的 , 幾乎都是記憶中的風景圖

去的全貌 , 而非殘影。也因此 , 直覺本身的存在 , 暗示著時間的時續性及有效性 ,

像 , 而不是出自於對現實的參照 , 因此 , 觀者斷不能說 , 畫裡的山是山 , 雲是雲 .

也概括地展示了其 “ 精確性 ” 的所在。除此之外 , 精確性從何而來 ? 一個能夠憑

所謂的山與雲 , 在吳日勤的藝術形象中 , 並非客觀存在的事物 , 而比較像是引導

直覺活動的人 , 乃是自由的人 , 因為直覺的判斷 , 是一種自由的決定。而根據柏

人們向另一個層次邁進的被精鍊過的美學指標。此外 , 如果把黑色塊面或線條與

格森的說法 , 自由的決定 , 首先是將問題帶到另一個層次。其次 , 界定真正的問

周遭的顏色一齊納入視野 , 我們會發現是一個個片段所組成 , 而每個片段似乎都

題 , 然後在持續性的時間中解決，就如同馬克思所言 , 人性只會設定它自身能夠

可回應藝術家記憶中收縮與重組過的圖樣，若更進一步看 , 片段中的色彩 , 無論

解決的問題 , 而問題永遠有它渴望的答案 , 至於藝術 , 也不例外。藝術或美學的

是黑白或彩色 , 它們所暗示的 , 實際上是整張的畫面 , 而顏色本身如同刷痕般 ,

問題 , 當用藝術的手段解決 , 然而 , 這些問題被解決的目的 , 並非為了真正的答

也是直覺的一次性 , 同時伴隨著過去的重複性 , 這些重複性夾雜著台灣在地文化

的基調 , 或許 , 在吳日勤的記憶中 , 那是一些在生活中 , 無以名狀的街頭配色，

暢的狀態 , 需要豐沛的能量 , 也就是所謂的 “ 氣 ”. 此外 , 將過去的記憶結合內在

然綜觀之 , 他並沒有隨於流俗 , 亦沒有佯裝高雅他只是將成長過程當中 , 某些時

的衝動化成身體姿態 , 尤其在線條轉折或彎曲處 , 更是一種蓄積的力量獲得解放

刻的所見所聞 , 拿來濃縮或重置罷了 , 並且同時讓那些色彩 , 似意外非意外地在

的路徑，而其與畫面的留白處之間 , 則是處處充滿精確與韻律的互動關係。

背景中四處碰撞，而如同畫面片段那樣代表全幅的視野般 , 日勤對於生活周遭色彩的局部體驗 , 反映著其所有接觸過的 , 島上的樣貌，吳日勤從試探山水畫的可

如前面所敘述 , 日勤的筆觸與線條 , 除了孕含東方書畫的底蘊外 , 亦明顯地

能性出發 , 最終卻不全是回歸到山水本身 , 這是將心中對於風景的概念 , 提升到

參入西方式的抽象表現方式 . 眾所周知 , 定義美國抽象表現主義的主要理論 , 乃

另一個層次 , 然後標誌出心之所向的完美風景 , 使其在筆尖上儘可能充分地被描

出自於克雷蒙特 . 葛林伯格 (Clement Greenberg), 他認為 “ 現代藝術史 , 是藝

繪出來，說得更具體些 , 則是吳日勤將書道的內涵 , 蘊藏在直覺式筆刷的 ” 精確

術風格的持續漸進式扁平化與抽象化的一種二維譜系的回歸 , 回歸到藝術自我批

性 ” 之中 , 並將成長環境的視覺要素 , 恣意又謹慎地 , 抒發在畫面上的山、石、

判的本質 , 但批判與演進並不全然意味著對其他文化養分的排斥。其中 , 日勤特

雲、樹 , 以及其他。

別稱許的美國行動繪畫的代表之一 - 法蘭茲 . 克萊茵 (Franz Kline), 如同許多當時最前衛的抽象表現藝術家 , 禪的精神體現在他從沒有意識到如何創造一種畫風

然而回過頭來 , 除了以上提及的筆觸與形象、色彩之間的內在直覺與外部文

的態度上。有時 , 克萊茵對他正在做的事有了明確的構想 , 然而在其他時候卻似

化牽連之外 , 其中的書法式運用 , 在日勤的繪畫中亦值得探究，除了他書法傳統

乎杳然無蹤，不同於製造一個可辨識的記號 , 創造連自己也無法理解的符號成

的養成以外 , 秉著如此深厚底蘊周遊英美之後的抽象書寫嘗試 , 更是遊走兩端美

了克萊茵的藝術常態，也因此 , 克氏這樣似有若無的 “ 空 ”, 在日勤的創作中也可

學體系的一個見證。首先最明顯的是筆觸與背景的空間對應關係，東方和西方

看出其影響因子 , 在旅居英美時期的系列創作中 , 書法趣味若有似無地融入了無

繪畫的空間概念中最大相逕庭的 , 非禪學理論中 “ 空 ” 的呈現方式莫屬了 , 而這

法辨識的符號 , 斷裂的筆觸結合破碎的拼貼 , 就像不連續的旅行記憶 , 時而清晰、

樣對背景的留白安排 , 充分給予了日勤創作的畫面呼吸以及線條施展的空間 , 無

時而模糊 , 然而 , 無論有形無形 , 皆連結成了如同 “ 氣 ” 的姿態性 “ 動勢 ”, 以筆

獨有偶的 , 在當代的抽象藝術表現中 , 也能夠看到與禪學相互參照的著名例子 ,

刷顏料馳騁與渲灑在他的畫面上。

比方羅森伯格 (Robert Rauschenberg) 或約翰 . 凱吉 (John Cage) 某時期作

如同許多對東方書畫有著濃厚興趣的西方藝術家 , 當代書寫式抽象畫的代表

品中那留白的部分與直挺或遒韌的粗黑線條 , 其對空間的使用方式 , 正是對於禪

湯布利 (Cy Twombly), 其作品中亦偏好留下大片空白。如符號學家羅蘭 . 巴特

學理論 “ 空靈 ” 運用的最佳例證，而日勤許多作品裡 , 皆可看到許多巧妙運用禪

(Roland Barthes) 所言 “ 湯布利的畫面中 , 充斥著空白與隨機…而那樣將空間

學理論的例子。比方 , 筆觸的形態是東方書道的移動式牽引 , 照日勤的說法 , 手

抽離的方式 , 有著日本美學的影響…他揉合了東方藝術與自身的思考模式。簡

跟眼一致的情況下 , 所有的筆觸或刷痕皆是一種直覺式地反映 , 而要達到這樣流

言之 , 巴特認為湯氏作品的禪意體現在將觀者那直覺的、不合邏輯的想像融入其

中，在禪的核心裡 , 現有的知識與邏輯並非解決問題的方法 , 解決自身問題必須是出於自我的內在深處。 1970 年間湯布利開始以鉛筆或粉筆發展他自身的 “ 書法 ”, 在這些作品中 , 湯布利用一種類似以粉筆隨意在黑板上塗抹的調性，快速地繪製了數行橫向的連續性線圈，而連貫的旋轉如同狂草般 , 他將身體的動勢跟線條的方向緊密結合，在日勤的許多黑色線條中 , 我們可以看到其數十年行書與草書的紮實功底 , 然而 , 在很多時候 , 樸拙的趣味夾雜在看似握著筆刷的手隨意且漫不經心地擺動線條中，甚至沾染到未乾的背景色 , 如同帶著禪意的湯布利 , 時而有意時而無意 , 善變中又包藏了無邊的想像力。總之 , 無論是甚麼樣的幽微的哲思畫理 , 都能夠讓日勤的藝術能量雄恣勃發 , 而那些過去的體驗或在海外的體悟 , 皆能夠使他在當代不斷變動的視覺語彙中 , 立於長遠的置高點 , 傲視藝壇。

Chin’s Art –

Calligraphic Expressive Painting By Lu, Chen-Shih Intuition is neither a feeling nor inspiration, but a fully developed method. It has

of memory; nevertheless, it still can project all his past art life. In addition, regarding

its strict rules, arranging that which Henry Bergson calls ‘precision’ in philosophical

his recent works, some of the elements are inspired by classic Oriental landscape.

realm. When people are doing something, the past is displayed to us as memory.

However, they do not refer to any real landscape, so that viewers cannot determine

However, for Bergson, the past does not follow the present, but coexists with each

the mountain or cloud in his paintings. The landscape is, in fact, a concretization

present. In other words, each present possesses all the past and expresses it as

of his partial memory which possesses all his artistic experience. For example, the

memory. Take Chin’s paintings as an example, as soon as he makes a brushstroke,

colors he applies on the landscape, could be traced to the environment where

the moment has included the past which is based on what he learnt from Oriental

he grew up. They are incoherent and unorganized colors on the street of Taiwan.

aesthetics. In other words, his intuitive brushstrokes indicate immediate techniques

However, what he did is not following the trend, but representing it after contraction

which include all the past learning and training of art.

and recollection. Even though the brushstrokes or colors in Chin’s paintings merely connect certain part of memory, it can still project all the past experience.

How does intuition become a developed method? For Bergson, intuition is composed of three rules: creating a problem at different level, stating a real

Chin’s recent paintings begin with the possibility of new landscape;

problem through contraction or recollection of memory, and solving the problem

however, the potential value is not merely related to landscape. His professional

in a specific moment of duration. Similarly, Marx used to claim that humanity

experience and special taste, which sink in his memory, are applied on the intuitive

only sets itself problems that it is capable of solving. However, the truly valuable

brushstrokes and colors.

problems are set forth only when they are solved, and art is not the exception. All the problems of art have to be solved by artistic strategy, but they are solved with different possibilities instead of real answers. Regarding Chin’s works, his paintings do not express perfect images, but reconcile the question of perfection at creative level. Furthermore, Chin defines the perfection of image through contraction or recollection from his past experience of aesthetics and represents it with intuitive brushstroke at certain moment. Intuition, therefore, as Bergson emphasizes, already presupposes the existence of duration. It is also the proof of what he calls ‘precision’. In each moment, the past is displayed to us as memory, but seems to be a partial memory. Even though the partial memory in the present is the effect of contraction and recollection, it contains not particular elements of the past. In contrast, what it contains is always the unity of the past. For instance, all the brushstrokes and effects in Chin’s paintings result from contraction or recollection 18

書寫光輝

談吳日勤的繪畫文｜嚴仲唐

「簡潔是文字如日的光、表達的榮耀，這是藝術的藝術。」——華特．惠特曼

台灣當代藝術家吳日勤，曾旅居倫敦、舊金山、北京，他厚實的人生歷練充分的顯現在大氣磅礴的筆觸與畫布上，同時帶有如文豪般的大氣感慨與細膩情感。每一筆，都包含他精彩的點滴，用最純粹的創造與爆發力定義當代華人抽象繪畫，是當今值得關注的創作者。詩書畫合一的精神用色彩書寫一直是吳日勤創作的獨到風格，他的脈絡源於經典但不老套，他的詩是靈之歌，書寫的是抒情，畫的是人生百態萬千風情。這種當代的「詩

潛意識的流動何謂抽象？何謂具象？這問題就好像是主意識（consciousness）與潛意識（sub-consciousness）之間的灰色地帶。吳日勤的藝術本身可以被看成是橋樑意識（bridge consciousness）的表現，像是概念上的半鹹水（brackish water），非海也非河。也因此，在兩者之間的不確定性賦予了意外的可能與冒險。或許唯一能完全理解吳日勤的視覺語言，就是放開主意識的掌握，遊走在現實與奇幻之間、主意識與潛意識間的橋樑才會建立，這如夢的幻境，需要人們摒棄既有的價值觀與思維，因為山水不一定現實的風景，或許它實際上是心所嚮往之地，是慾望最原始的原型。

書畫」傳承了古典的文人畫派精神，添加了一點國際化的藝術史脈絡、以及他自身的哲思。山水意境的突破與其看待他的風景是山水，不如說他畫的是人性。腦海中的種種即是觀者乘坐的小船遭遇到的經歷。在傳統水墨中，畫家追求的最高境界是與畫融靈，吳日勤的畫作像是一面明鏡，邀請觀者進入畫中的世界，從另一種角度的與畫融靈，以視覺作為觸發點，以感動為目的地，而終點站是永不停的悸動。「倘若你相信這是不可能的，你的頓悟之心將被阻礙。」羅蘋．荷布《魔法之船》

思維與觀點的轉移在吳日勤的繪畫中，知覺（perception）處於不完全明朗的狀態中，並無絕對，這抽象，倘若歸類是抽離具象，或者，本身獨自成立亦然，在表面上有可能極為相似，實際上本質卻全然不同，而這兩種可能性在他的創作中都包含在內，邀請觀賞者不斷地轉移觀點（vantage point），溫故而知新，從各種角度檢視他的畫作，與藝術歷史對話的同時，也書寫新的章節，探索過去的道路、拓展新的可能性。仔細找尋線索，會發現有許多不同的觀點與高度複雜的佈局於其中，要能完整的吸收吳日勤創作美學與藝術的哲學，必須將藝術的各種面向納入參考的範疇之中。在這轉換的過程，是賞析其作品的重要元素，也因為如此，這樣的流動性（fluidity）帶來流暢的氛圍，翻轉感知、融合美感與詩意。在如詩的旋律中找到方向，在類似文字書寫的筆觸下，似乎隱藏著什麼無人知曉的故事。

現實的意義

大千之中無盡藏

攝影的發明賦予了繪畫極大的發揮空間，藝術不再被限制於服務現實，賞

美國文豪華特．惠特曼曾說過：「讓你的靈魂冷冽的面對一百萬個宇宙。」

析吳日勤的作品，不禁使人反問，現實的意義為何？現實的構成與夢境、幻想、

這一百萬個宇宙巧妙的與東方思維中的大千世界形成對照。如惠特曼這句名言，

抽離的現實有何差別？亦或者，如夢中夢一般，到底現實的衡量標準是什麼？

吳日勤的繪畫賦予了觀者這個難得在現實中倣真無形概念的機會。於東方，書

從哲學的角度而言，或許沒有既定的標準，像是光譜與音階一樣無限永恆，吳

寫與繪畫本是一體，於西方，真正結合文字於畫面上的書寫由塗鴉藝術（舉例

日勤的藝術跳脫了既定思考的框架束縛，擁抱超越寫實的未知目的地。畫作與

而言：抽象文字的塞 ? 湯伯利 Cy Twombly、抽象想法的尚．米榭．巴斯奇亞

現實的界線被模糊反轉，像是一個聯結兩邊的通道，他的繪畫自身成為其藝術

Jean-Michel Basquiat，而這都富含濃厚的詩意）帶進近代藝術史，東方的書

的現實，而現實世界剎那之間相較之下顯得奇異，在沒有清晰定義的線條中，

法藝術文化衍生對現代大師弗朗茲．克林因（Franz Kline）、羅伯特．馬哲威

奔飛的色彩與線條創造出對於現實不同的定義與標準，賦予不同的層次與含意。

爾（Robert Motherwell）等人實踐，如趙無極將抽象繪畫之中融入甲骨文與

這樣的重新定義現實，也於概念上重新詮釋抽象，某種程度上而言，他的作品

書法元素，但這僅是一種手法，而書寫的目地與重點是脈絡與內容。吳日勤的

並非抽象，而是另一種現實維度（dimension）的表現。

藝術所要表達的是他所創的視覺語言，同時無聲的訴說著所有的故事。他的繪畫將無限種可能呈現在觀眾面前，靈感、靈魂之感動也在霎時於同樣的頻率震

「空間」與「地方」

動。

所有的「地方」都是「空間」，但不是所有的「空間」都是「地方」，在吳日勤的畫中，「空間」與「地方」彼此競爭、共存，錯綜交疊、抵觸、融合、震動、妥協，不斷地彼此衝擊與相融。獨自對不同的記憶產生共鳴與發酵，這是一種近乎直覺性、純粹的感覺，以既定的模式作為基準，不斷無限的將各種可能繼續發展。他的作品特色之一，就是他跳脫傳統的方式，無論是去文字化或是單一的建構，多年來吳日勤刻意沒有特別強迫觀者既定的敘事，由大眾自行推測摸索。無意義的空間成為有所代表性的地方，與其是毫無效果的爭執，對於某些人而言或許一直以來都是討論的議題之一，因人而異。這樣的表現方式似乎將夢境中的空間與地方以圖像建構、透視重現，熟悉卻又陌生、似曾相似，而翻轉的意象與概念則是跨維度（inter-dimensional）的表現。

Markings of Light On Chin Wu's Art Text by Jason Chung Tang Yen “The art of art, the glory of expression and the sunshine of the light of letters,

“As long as you believe it is impossible, you close your mind to understanding it.” ——Robin Hobb, Ship of Magic

is simplicity.” ——Walt Whitman

The Flow of the Subconsciousness

Contemporary artist Chin Wu lives and works in Taiwan, having been based

What is abstract? What is representational? These questions are parallel to

in London, San Francisco, and Beijing, his dense life experience is evident on his

the grey area between the main consciousness and the subconsciousness. Wu’s

canvas with brushstrokes filled with vitality, at the very same time, embodying the

art itself can be regarded as the bridge consciousness that connects the two,

subtle emotions, character, and mannerisms of a literary giant. Every aspect of his

like brackish water that is neither the ocean nor the river. Therefore, proving new

art is a manifestation of his life, in a pure, explosive way; an artist to watch in our

possibilities and adventures in between the two ambiguous boarders. Perhaps

time that defines contemporary ethnic Chinese abstract painting.

the only way to fully understand Wu’s visual linguistics is to let go of the main consciousness, wandering in reality and fantasy, in order to build the bridge. This

The Spirit of Merging Poetry and Painting

dream like hyper reality requires people to put down existing value systems and thought patterns, for his landscapes are not of reality, but from the land the heart

Writing with colors has always been Wu’s signature style, his context

longs for, the most original prototype of desire.

came from a different angle of classicism, his prose is the song of the soul, the “writings” of sentiment, the various states of life translated onto the canvases. This

Transience in A Thousand Impermanent Worlds

contemporary spirit that merges with the traditional painting, calligraphy and prose is a continuation of the literati painting, with a hint of international art history and his own philosophy.

The American literary giant Walt Whitman once said: “Let your soul stand cool and composed before a million universes.” This quote of a million universes is an interesting comparison with the oriental ideology of a thousand worlds, the

The Artistic Conception’s Innovation of Landscape

making of the universe. Like Whitman’s ideas, Wu’s art allows the audience to feel the formless void in reality. In the East, writing and painting was one, in the West,

Instead of looking at his sceneries at landscapes, it is rather a depiction of

artists didn’t start putting words onto paintings until later on, such as graffiti art,

human nature. The feeling of riding a small raft may com up in the mind of the

with abstract ideals like Cy Twombly, Jean-Michel Basquiat, Robert Motherwell,

beholder. In classic ink painting, the painter pursued the union of the painting

or Zao Wou Ki, merging letters, words and oracle bone writings and elements of

and the soul as the highest level of accomplishment, Wu’s painted oeuvre is like

calligraphic structures onto the paintings. But this is merely a technique, while

a mirror, inviting the viewers to enter the realm within, a different approach to

the purpose and the pivotal concept of writing are content and context. The

merge one’s soul with art. It is a journey that starts with the eyes, while the final

expression of Wu’s art is made of the visual language he created, silently telling

destination is perpetual poignancy.

all of the tales. His paintings present a multitude of infinite prospects in front the the viewers, inspiring and touching the souls with the same level of trembling frequency.

「溯源」系列作品創作理念吳日勤博士歐洲和美國的 “ 後現代主義 ” 解構了以西方藝術理論上 , 所有的 “ 確定與不確定 ” “ 可以與不可以 ,” 亞洲的藝術美學語彙因經濟的崛起正在多元盤整之中 , 如果台灣定位要有高品質文化軟實力 , 台灣 “ 必須 ” 也終將必定要發展出真正有 “ 台灣特色 ” ( 有別於歐美特色 , 也非大陸中國或日韓特色 ) 的當代藝術羣 . 旅居紐約 , 北京和倫敦十幾年之後的在地真實的西方文化體驗之後 . 我的選擇是 : 回歸到自我題問 “ 我是誰 ?” 我是一個在台灣出生的藝術創造者 . “ 我能做的是 ”: “ 真實的為台灣這塊土地貢獻 , 呈現屬於吳日勤式的于當下在地發展的個人藝術語彙 , 於此確立我的核心藝術思想及人生終極使命 .” 這次創作理念的主軸，內容是以台灣的當代書寫，直指當下內心的本源，冥想於潛意識與潛意的邊界，存在著超現實影像與顏色線條的河流，進入專注且時間停止的空間，進行書寫生命的能量留下的軌跡，每件作品即是作者生命的時間切片，獨一無二卻是生命於萬物的醒覺，當下體驗生命的酸甜苦辣 , 各種面具各種腳色正向的信念潛意識暗黑恐懼完美與玩整可以辨識與不可名狀的，皆是內心情緒的體驗變幻。整個系列形式，是以油彩及綜合媒材的堆疊影像微噴拼貼於畫布為主，畫面豐富層次，自由訴說著吳日勤式豐富的藝術語彙。

Autobiographical Context I was born in 1971 in Taiwan. I have been practicing Chinese calligraphy from

and research on Abstract Expressionism.

the age of ten years old (Fig. 1). In my Fine Art high school I started learning water colour techniques, sketching, calligraphy and Chinese brush paint. I also began

Many writers who have championed Abstract Expressionism stressed its

to learn about Western artists such as Rembrandt and Gustav Klimt. This early

historical importance in terms of technical compositional innovation. Many of the

training was important and I continue to draw on these influences in my current

formal and visual attributes they describe as being advanced in American art,

work today. As a young student I was already becoming aware of the differences between formal Western concerns in painting and the sensibility of the spiritual

Fig. 1 Chin Wu practicing Chinese calligraphy aged 14

Fig. 5 Chin Wu, Sleeping Buddha, 1994, ink on Chinese rice paper, 152 x 228 cm

however, had already been applied for centuries in East Asian art. These including: - Gestural, semi-controlled techniques of paint application

characteristics of Eastern art. I majored in Fine Art and specifically focused on

- Restriction of colour range, often to just black and white

Chinese painting. At this time I used ink and water on Chinese paper, focusing on

- Calligraphic methods, emphasizing free linearism

calligraphy brush strokes. My major in Chinese painting included research into

- Asymmetrical compositions

Chinese traditions theory of “Chi” and “Zen” (Fig. 6).

- Prominent voids or ‘empty’ spaces, or fields of mist-like monochrome - Acceptance of accidental effects (Wechsler, 1998: 14)

B. A. Fine Arts

(National Taiwan University of Arts, Taiwan 1991-1994) While I was at university I chose Chinese calligraphic painting to be my

National Service

F i g . 2 C h i n W u , Ta n g P o e t r y (Detail), 1988, ink on Chinese rice paper, 216 x 101cm

(Taiwan Military 1994-1996) Military service is compulsory in Taiwan. The two years I spent in the army and

Fine Arts major. In my first year, I was awarded a prize for a landscape painting

the air force had a profound effect on me. The overall feeling was one of being part

competition. In my third year, I had my first solo exhibition of paintings (Fig. 4) at

of a machine. There was no room for thought or self-expression; the requirement

the National Taiwan University of Arts Fine Art gallery (1992). I won first place in the

was simply to fulfil orders.

department’s calligraphy competition (Fig. 2) and received an honourable mention

As an artist this felt like a dehumanising period of my life, which made me

for art in my last year. I also worked from the life model, on Chinese rice paper in

more aware of my need for freedom of action and expression. This desire for

this period of time.

Fig. 6 Chin Wu, Silent Night, 1988, ink on Chinese rice paper, 216 x 101 cm

In 1994, I made a large-scale painting of a sleeping Buddha (Fig. 5), in ink on Taiwan, this book influenced my Chinese painting (Fig. 5). However, when I read the

Traditional Chinese painting has limits that artists have imposed upon

book I felt that American Abstract Expressionism was influence by Chinese painting

themselves. For example, Chinese artists repeat the same form paint only Chinese

and calligraphy but at this point it was only a theory as I could not interpret the

ever since, a profound desire to remain free which has influenced my impulse to express the contradiction between freedom and limitations in my art.

Chinese paper. At this time I came across a book on Abstract Expressionism in

text. The following quote contextualises my traditional interests with my later focus

freedom was one of the factors that led me then to move to America. I have felt

characters and use the same materials to complete their work. New materials Fig. 4 Chin Wu, Jih Chin Wu (Detail), 2003, ink on Chinese rice paper print on poster

and ideas can be more open and interesting, which is why I have studied and 29

incorporated Western approaches into my painting. My experiences and travels

to suggest or imply hope in a modern society of mass communication where

to the United States and the United Kingdom have helped me incorporate this

there can seem to be periods of loneliness and solitude, and a sense of minimal

Western culture into my art. I have been able to visit museums and see original art

communication between individuals.

that I had only previously experienced in books. I have questioned the beliefs that

Professional Development

underpin the training and education I was exposed to in Taiwan. I came to consider contemporary art in Taiwan to be either too traditional or too derivative of Western art. The problem was that for me it seemed to ignore the spirit of Taiwanese

New York City 2001-2006

Fig. 7 Chin Wu, City Light, 2000, oil on canvas, 152 x 182.8 cm

After I graduated from the Academy of Art University in San Francisco I moved

calligraphy which had underpinned my training since a boy. As an artist I felt

to Manhattan, New York City. I would have loved to have moved to Chelsea but the

blocked and I wanted to search for a new creative identity. I chose to apply for an M.

cheapest area for artists at that time was in Harlem. This was close enough to visit

F. A. and decided wanted to study in American as its art had always made a deep

the museums and galleries of New York and see Abstarct Expressionsit paintings

impression on me. I wanted to visit the home of Abstract Expressionism. I therefore

at first hand. Standing in front of the original painting, I felt excited because I could

applied to schools on both the East coast and West coast for a place. I knew that

see and feel the Chinese tradition of calligraphy aesthetics mixed within Western

New York would have been my preference at this point but I was accepted on a M. F.

Fig. 9 Chin Wu, Time, 2002, oil on canvas, 151 x 183 cm

A. course in San Francisco. New York would have to wait.

art, though it was hard to put into words, it was an emotional response.

It sounds obvious to say that New York City is a mix of many cultures yet it is still very exciting to be around this environment. In New York I was able to visit many

M. F. A. (M. A.) Fine Art

contemporary art galleries, which enhanced my understanding of contemporary art.

(Academy of Art University, U. S. A. 1997- 2000) I entered the Academy of Art University in San Francisco in 1997 at the age

of 26. During the programme I focused on oil painting and produced a graduation

This led to me being offered a solo exhibition for the Mason Gallery in Manhattan (Fig. 10). This professional practice experience was very helpful for my career as

Fig. 8 Chin Wu, Rainy Night, 2000, oil on canvas, 160.5 x 190.5 cm

it allowed me to learn the principles of business. It was a time of both fear and

show entitled City Lights (Fig. 7). In this work I expressed my response to the

excitement as there is an urban myth that says that one in five people are artists in

glittering lights of the city at night. My tutor was Wu Zhao Ming (Appendix 33)

New York and it certainly seemed that way to me. This factor is very different from

during this period. He was heavily influenced by the Impressionists of Europe in

Taiwan where artists are rare within the culture. While this made me question how I

terms of developing his use of colour and by the Russian socialist realist painters, in

could make my mark as an artist it also excited me so see if I could succeed.

particular Ilya Repin, in terms of technique. His influence also became my influences over this period in California. During my time in San Francisco I explored the human figure in landscape. I am particularly interested in rainy night (Fig. 8) when the colours of the bright Californian sun become subtler and blend together. My intention was to portray the city and its people in a way that explored the idea of the vulnerability of city life through the representation of changing light and climatic conditions. This representation of the â&#x20AC;&#x153;Sunshine Stateâ&#x20AC;? is a challenge to the conventional image of

Fig. 10 Chin Wu, Woman, 2002, oil on canvas, 150 x 180 cm, (shown at Mason Gallery exhibition)

I had originally wanted to live in New York to see the work of Pollock as he had inspired me from the time of my early education and training in Taiwan. Yet it was Willem de Kooning who most inspired me at this time. I rememeber seeing his work Woman V, (Fig. 11) de Kooning displayed an intensity of colour that I had not witnessed before. He mixed abstraction and figuration and seemed to erase and overpaint before erasing again revealing the layers of personal emotional histories within his work.

Californian culture that I met with at the beginning of my studies. I was inspired 30

Beijing 2007 – 2008

Unfortunately, after one year in my studio in the 798 zone of Beijing, the

The Mason gallery in New York (where I had a solo show) and the curator of

financial crash meant I could not continue my work there. I therefore moved back

the Hang Gallery in San Francisco (that had shown my work in 2003) both thought

to Taiwan and taught at the Chang Jung Christian University Fine Art department

it would be a good idea for me to move to Beijing as the art scene there was

teaching Creative Practice of Oil Painting and Drawing. I also taught at the China

beginning to develop. I agreed that this step would be very positive as living in

University of Technology and the Lung Hwa University of Science and Technology

Beijing would bring me closer to home and might provide an opportunity for me to create and establish a reputation as an artist in China. With a lot of excitement and great memories to carry with me of America I headed back to the East in order to

for two-and-a-half years. I felt at this point that I had taken in so much information

Fig. 15 Chin Wu’s studio in Beijing, 2008

about artistic styles and asked myself so many questions about the nature of painting for someone like myself who balances between East and West that I found

cement a career between China and Taiwan. I had never been to China before and

it difficult to work. I wanted to ignite my Chi again and so I decided to come to

felt that I did not know enough of Chinese culture despite its obvious influence on

London to pursue my Doctorate and hopefully refresh my creativity. I chose London

Taiwan. So, in 2007 I decided to move to the most significant city in China, Beijing

because of its high profile in the contemporary art scene and its high density of

(Fig. 15). I rented a large studio in the area called “798 Art Zone”, where there are

museums and galleries. As Europe was completely new to me so I hoped it would

over 300 contemporary art galleries as well as many artists’ dwellings. I wanted to

give me new inspiration and challenges. I applied to the University of East London in

discover what China was actually like.

An important influence on me during this time was the Chinese contemporary artist Fang Li Jun. I encountered his enormous painting People (Fig. 16) at the White Space gallery in Beijing (2008) and I was very inspired by it. The experience gave me the courage and confidence to make larger paintings and to create a greater intimacy between the viewer and the work. Rather than remaining external to the painting, I wanted the viewer to feels a part of the environment of it. I had this experience myself in New York when looking at works by Pollock and Kline but the scale of physical painting Fag Lijun produced was even more extreme. As a result of seeing Fang’s work, I created Goldfish (Fig. 17). It is considerably larger than my previous work; here the goldfish is painted on an enormous scale – 300 cm x 400 cm. The painting was created quickly, almost like a performance, in which the brush was leaking and dripping onto the canvas as the image was created. I enjoyed the freedom that this gave me as a painter; the moment was like meditation. I felt as if I was in another world; it was as if my philosophy at the time was inspired by the Buddhist idea: “The universe can be viewed through a grain of sand.” In other words, one grain of sand represents the whole world and every small

Fig. 17 Chin Wu, Gold Fish, 2008, oil on canvas, 300 x 400 cm

England, and was accepted. So I began my research journey.

Creative Practice from 2011-2014

I arrived in London with a clear intention to develop and transform my creative

practice. For the last sixteen years I had travelled and lived in San Francisco, New York, Beijing and Taiwan. This long period away from my family and cultural heritage had shown me a variety of experiences but had also meant I spent much time alone. On reflection this experience of solitude has enabled me to have more clarity of thinking in which to consider who and what I am as an artist. The professional Doctorate programme at UEL gave me a self-reflective environment in which to redefine myself through my aesthetic influences. A number of these learning experiences have formed key moments in the transformation of my practice. This section of the report focuses on those moments of change.

First year

(September 2011 to August 2012) In the first two months of attending the Professional Doctorate, I moved away

from painting subjects inspired by urban street scenes of American cities that were

object or is full of unlimited potential.

reminiscent of the impressionist views of Paris. Instead I began experimenting with

I started working on rolls of paper spread out on the floor and directly applied

subjects and symbols that represented my own cultural heritage, as if to signify the

gestural brush marks that refer to the Chinese tradition and also to Abstract

self in the process of the journey. The most significant, the symbol of the goldfish

Expressionism painting. When I lived in America I used Western materials, for

which epitomises the human beings respect for nature within Chinese culture.

example oil painting on canvas. I felt this was an opportunity to use Chinese

However, the symbol of the goldfish exemplified more than ethnicity, the symbol

traditional material: water based ink, Chinese water colour, Chinese brushes and

reflected my life, a life swimming between east and west, solitary and isolated. For

Chinese rice paper. I wanted to emphasise and bring my past calligraphic training

this reason I adopted the Goldfish as a sign in a series of paintings and combined

into the working process, combining both traditional Chinese materials with my

western text and Chinese calligraphy on the canvas.

The research allowed me realise the significance of the Goldfish (Fig. 18) as

influences from my Western experiences. I felt very excited but it also felt familiar

Fig. 22 Chin Wu, The Fragment of Goldfish working in progress, 2012, Art-Toll residency Germany, acrylic on paper

to approach working in this way.

a signifier, a form in visual language that represented my being. This form became

After having put the first pieces of paper on the wall I was not satisfied with

the foundation of a personal visual vocabulary that I would continue to develop over

their arrangement, so this forced me to add a number of small paper drawings

the forthcoming years of the Doctorate.

next to them. This enlarged the possibilities of the composition and the method

In the first year exhibition seminar, my tutor Geoff Brunel critiqued the work

of making smaller individual paper pieces, which are assembled later; this had a

and cited the paintings of Cy Twomby and recommended I research his work (Fig.

beneficial effect on my method of production. It slowed down my natural emotional

19), He said his methodology of creating abstract narratives was similar to my

responses and allowed me to consider more deeply the larger composition such as

own working processes. My research discovered Cy Twomby’s affinity to Chinese

the gesture marks (Fig. 23) and accidents and how they were arranged in different

calligraphic practice, which combined the working methods of American abstraction

scales, thicknesses and speed. This approach also created marks that linked the

and was reminiscent of my own studio practice. This was a significant turning point, as I realised both east and western philosophy could be combined into one painting. In the book The Responsibility of Forms Roland Barthes states that Twomby’s… graphic events, allow the sheet of paper or the canvas to exist, to signify. After seven months’ of research and working in the studio, a turning point came when I was invited to attend Artoll, a residency programme in Germany. The residency programme brings together artists from different cultural backgrounds to work in a series of interconnected studio spaces at a specialist arts studio complex situated in a psychiatric clinic in Kleve, Germany. The aim of the residency is for the artists to interrogate their practice within a social situation, leading towards a new body of work. 34

Fig. 23 Chin Wu, The Fragment of Goldfish (close up), 2012, Artoll residency Germany

pieces of paper giving the impression of thickening the picture plane.

After the installation was complete I began to analyse the new work and realised I had deconstructed the traditional Chinese tradition of calligraphy-style landscape painting (Fig. 22. 24). The method of collaging single images together deconstructed the single unique image and fragmented its cultural signifiers, such as the goldfish and the tree form. The fragmentation of style as a cultural symbol refers to my journey from the East to the West. Through discussions with other artists I realised I had made my fist installation and an important key moment at the Artoll residency in Germany. The other artists made a number of significant observations such as; the conflation of different cultural experiences which draw on my own life experience residing in Taiwan and America. 35

In July 2012, I re-installed the work I made in Artoll on a bigger wall in the

Working in the intellectual creative atmosphere of the Doctorate encouraged

Professional Doctorate showcase (Fig. 25). The white wall became part of the

a sense of freedom and experimentation which I began to try and integrate it into

installation and extended the boundaries of the image and viewing experience. This

my daily studio practice. However, I also want to remain commercially viable so I

replicated the experience of Wabi Sabi.

can hopefully make a living from my work in the future but without hindering the development of my artistic creativity. The exhibitions I made in Taiwan worked on

Second year

(July 2012 - July 2013)

Fig. 24 Chin Wu, The Fragment of Goldfish, 2012, Artoll residency Germany

a commercial level as I sold a number of works but my attempt to incorporate my Artoll experiences onto past work while being open to working methods from artists such as Richter proved difficult to assimilate in such a short period of two months. After I came back from Artoll I discovered I wanted to collage photographic

After the completion of my Doctorate proposal, in July 2012 I flew back to

images and integrate gestural line calligraphy on rice paper in my artworks. While

Taiwan to work in my studio for three solo exhibitions (Fig. 27), two in Taipei and

in Germany I had visited the museum K20 in Cologne and witnessed anew the

one in Tainan. Having spent nine months in London, it was interesting to return

montages of Robert Rauschenberg. Although I had first seen these them when

and see my old artworks that still resided in my studio. After developing work on

living in New York but they had not registered with me as a way to think about

paper at Artoll I was now confronted with panting in oil on canvas and the reality

working. The challenge for me now became a desire to make the black gestural

of producing work for three exhibitions within two months. This made me consider

calligraphy harmonise with other images within one painting.

how to introduce new aspects of my new work combining calligraphic elements and

Streams of consciousness

abstraction into one painting. I decided to use an 80 cm painting knife to squeegee colour onto one of my old figurative paintings (Fig. 27). This changed the nature of the calligraphic line and led to unpredictable textures and layered colour. But I still had the dilemma of making work for upcoming exhibitions and being unsure how to

Realising I am drawn to working intuitively I started to research theories of

Fig. 25 Chin Wu, Summer UEL exhibition, 2012, London

streams of consciousness. I have researched Chihung Yang through his book Gene of Creativity. The idea of “stream of consciousness” was first coined by the

proceed. While I was in London I saw the work of Gerhard Richter (Fig. 28) and I was fascinated by his working methods. I first came across Richter’s painting and installations in Tate Modern in 2012. “Richter also suggests that the abstraction/ figuration polarity is a false one. He accepts the appearance of figurative forms in his abstract works and often explains that it is inevitable” (Morineau, 2012, 123). Richter’s ability to mix figurative and abstract gesture to produce a world that was chaotic but simultaneously had an intuitive order impressed me.

Fig. 27 Chin Wu, Home, 2012, 110 x 150 cm, oil on canvas, solo exhibition in Taiwan

philosopher and psychologist William James in The Principles of Psychology (1890).

interest in Zen theory and in particular the idea of “emptiness”. When John Cage

According to Pandal Stevenson, “Consciousness, then, does not appear to itself

first met Rauschenberg at Black Mountain College in the 1950s, he described him

as chopped up in bits... it is nothing joined; it flows. A ‘river’ or a ‘stream’ are the

as a “natural Zen.” Both allowed the random constellations and material of everyday

metaphors by which it is most naturally described; let’s call it the stream of thought,

life to function as art. “The white paintings came first; my silent piece came later”

consciousness, or subjective life” (Stevenson, 2011). Stream of consciousness is

The Zen theory of emptiness is highly relevant to my creative practice (Fig. 35). The

the term psychologists use to describe the processes of the human mind flowing at any time.

empty background provides a space to allow the “breathing” of my painting in just

ig. 29 Chin Wu, Journey of London, 2013, oil on canvas, 100 x 100 cm

the same way as the white space in Rauschenberg’s artwork. This is a key part of my personal aesthetics which will be explored further later

In literature, stream of consciousness is often used to describe an interior monologue The author James Joyce was one of pioneer of this style in attempting

At the end of my second year, my supervisors Karen Raney and Geoffrey

to capture the thoughts and feelings of his characters. Interior monologue has

Brunell made three points. Firstly, Karen and Geoffrey criticised my application of

been defined as a mixture of thinking (Yang, 2011: 12). It is much more layer of

what they called “dirty colour,” recommending that I stop using tonal colour relations

meaning in visual artwork. In my artwork (Fig. 29) I am trying to capture the shifting

and instead evolve chromatic associations. Geoffrey continued to question the

movements of a fragmented mind and the associations between language and

symbolic and emotional meaning of my colour choices. His critique encouraged me

memory through streams of consciousness. The concept I am trying to explore

Fig. 36 Chin Wu, Paris Journey, 100 x 100 cm, 2013, oil on canvas

is inner psychological truth. In my painting, I use the visual montage method to produce the narrative of my ‘interior monologue’.

example, the painting Paris Journey (Fig. 36) shows how I use red and gold in one

After reassessing Rauschenberg I started to look at Montage. Montage important to my artistic process is the idea of assembling images of the present,

values of my painting. I recognised that my use of certain colours, like red and gold, was a symbolic choice which was influenced by my own cultural context. For

Montage

has several characteristics which are relevant to my creative method. Particularly

to start applying saturated colour in order to allow more expression to the emotive

painting. This advice encouraged me to develop a personal symbolic relationship, in Fig. 30 Chin Wu, Journey No 8, 2013, oil on canvas, 100 x 100 cm

which the colour black carries the weight of personal identity, symbolising energy or a response to being and its emotional state. This positive black colour statement

past and future together in one painting (Fig. 30). I relate the idea of montage

often describes action in form, asserted on top of a saturated colour space which

to the images in my collage painting, because it combines two or more different

signifies atmosphere.

images together, I can use visual metaphors and symbols to extend the narrative. Montage therefore becomes a potential useful device to express my subjective thinking and spiritual content. Perhaps the most exciting part of Rauschenberg’s artwork Automobile Tire Print for me is the white space he employs. This use of space derives from his

Secondly, Karen and Geoffrey commented on the photographs inserted in my

This painting Goldfish: West back to East, (Fig. 38) represents conflicting

paintings and recommended that I needed to be more subtle in their use so that

and contradictory ideas, such as the conscious and unconscious, East and West,

the audience could read the painting as a collection of abstract images first. In this

Yin and Yang, positive and negative, abstract and figurative, happy and sad, area

way the photographs would only become apparent later (Fig. 37).

and line, image and text. By mixing these images I could choose to represent different periods of time within one painting. The subject is the journey of my

Thirdly, Karen and Geoffrey complimented the rice paper images embedded

spirit - a stream of consciousness - symbolising (Fig. 38) different time periods of

into the paintings and noted their link to the larger Artoll image Journey 2011.

my emotions: past, present and future. The picture represents a subjective voice

Moreover, they suggested that this highlighted the dislocation between Eastern calligraphy and contemporary Western art. They suggested that I should make a large painting combining these collage works. In the following years I would work to achieve this earlier success but on canvas and with a full use of colour.

across different periods of time (Fig. 39) within one piece of work.

Fig. 37 Chin Wu, Paris Time, 2013, 120 x 150 cm, oil on canvas Fig. 38 Chin Wu, Gold fish West back to East, 2013, oil on canvas, 140 x 110 x 5 cm, Spring show, UEL exhibition, London

In an attempt to achieve a more dislocated image, I began to deconstruct my own cultural aesthetic. To accomplish this intention, I began to research other art disciplines. It was at this point I realised that the collage technique could provide a visual opportunity to explore my journey crossing to and from two cultures - East and West. Using montage would enable me to make a comparison between visual

Fig. 39 Chin Wu, Journey No2, 2013, oil on canvas, close up, spring show UEL exhibition, London

conflict and contradiction. For me it could become a primary strategy for forming compositions that explore cultural differences. I began to present opposing cultural

In 2013 I visited Artoll for the second time. I began working on paintings on

images and visual languages together in one painting. For example, I could use an

the floor, self-consciously copying the working methods of the Zen painters and

image inspired by the ‘floating mind’ philosophy, such as a goldfish or landscape,

the American abstract artist Jackson Pollock, who regarded the psychology of the

combined with painting techniques taken from Abstract Expressionism. The use

canvas as an “arena in which to act.” These working practices became increasingly

of these cultural symbols demonstrates my journey, illustrating the dislocated

important in the production of my work. While working on painting on the floor, I

experiences I have encountered.

felt more relaxed as I was able to let the oil paint drop onto the canvas. This allowed me to better connect with my inner voice and the universe beyond.

The Flower painting (Fig. 40) was created by trying to produce my imaginary

Emphasis on Zen’s nothingness can be found in the freedom of oneself and the

image of a flower and a calligraphic gesture. In making the painting, I placed the

feeling of oneness.

canvas on the floor. This answered my need to make something new; in this way I expressed my liberation through automatic action and gesture writing. In the

Significantly, this form of emptiness is important in Zen art too. Examples

creative process, eyes and hands move in real-time. In Chinese calligraphy every brushstroke is intuitive, reflected by the body. When I begin to paint in this way, I need a lot of Chi and energy. By shifting the inner emotions to outside my body, I feel calm and liberated. After producing this painting I realised that empty space is very important in my artworks. The black lines and the white area show an interactive relationship. In Chinese aesthetics, the background composition is highly important. Rather than suggesting an absence the white background encourages the imagination of the viewer. This is directly related to the Zen idea of “emptiness” or “nothingness”. Emptiness and Nothingness in Zen and Chinese calligraphy painting In the Zen philosophy the concepts of emptiness (Fig. 41) and nothingness do not refer to an absence of something but rather are complete in them-selves. This means that empty is also full and nothing is something. In Zen there is no way of saying what Zen is, only what it is not. The idea of emptiness is particularly important in the aspiration to perfect wisdom of a Buddhist. The PrajnaparamiteHridaya, or heart Sutra, explains this concept All things have the character of emptiness, they have no beginning, no end, they are faultless and not faultless, they are not perfect and not imperfect… here in this emptiness there is no form, no perception, no name, no concepts and no knowledge. (Hridaya, 1940: 8) This is the great significance of emptiness and nothingness in Zen. This is

include the central role played by large empty spaces in Chinese painting, which are Fig. 40 Chin Wu, Flower, 2013, acrylic on canvas, 100 x 60 cm, Artoll residency exhibition Germany

a favorite subject of Enso (Fig. 42), and the expanses of emptiness in Zen gardens . These empty spaces are never lifelessly empty. Indeed, the difficult task of creating meaningful emptiness is apparent from the following comment by the painter Ikeno Taigado (1723 – 1776): “The places in a painting in which there is absolutely nothing are the most difficult” (Taigado, 1964: 147). In addition, emptiness and nothingness are essential to the Zen Master’s mental status in his working process. By chance, this idea of emptiness emerged in some new work I developed in my German residency using empty boxes.

Boxes Series

While I was at Artoll in the spring of 2013 I wanted to allow myself to do

something different from my normal practice. The residency created the opportunity for me to experiment with using other formats and materials and therefore I attempted to extend beyond the field of painting and begin to create sculpture. At one point I picked up the beer boxes the group had used during dinner and began to use these to paint on, making black gestural lines on the boxes. First, I exhibited the painted boxes on the floor, but after the group gave me feedback I put them on the wall too. This gave the installation a new point of view; it increased the threedimensionality of the artwork (Fig. 43). The sculpture installation enabled me to mix the boxes with gestural line; this produced a combination of human gesture and commercial production.

pure experience; it’s the very foundation of our being and thought. According to Buddhist’s philosophy, Zen (Fig. 42) is always with us and in us, it is our life itself. 42

Third year

Discussions within the feedback group at Artoll 2013 suggested that I had made a transition from paintings that synthesised Eastern calligraphy and

(July 2013 - July 2014)

Western expressionism towards a hybrid form of painting encompassing threedimensional objects (Fig. 44). These new works utilise discarded cardboard boxes

During the final year I focused on integrating more elements from my cultural

and incorporate bold spontaneous areas of paint. The decision to utilise commercial

influences into my artwork. I realised that my personal history in coming from

packaging instead of canvas opened up a creative space where I can make intuitive

Taiwan has had a big impact on my art practice (Fig. 45). The combination of this

Fig. 45 Chin Wu paintings on the floor

decisions and give myself permission to try out new ways of working that painting on canvas would not normally allow. The group agreed that the new work has an

cultural experience with my experiences of living in the West and my responses to Western art, create the many layers which make me as an artist.

impact and energy that is derived from the discomfort and unease that I experience when making them.

For me, the discipline of calligraphic writing (Fig. 46) creates an emotional distance from the act of painting which allows for a calmer response to my works.

This tension is a vital component of the challenge I have issued to both myself

This calligraphic writing recognition has resulted in a cooler approach to my original

and my audience. Poised between painting and sculptural relief, these works have

intention. This led to the creation of a painting which expressed my inner voice.

an edginess and contemporary urgency due to the relationship between consumer

Creative practice artwork needs both intuition and rationality. I realized that the

design and lyrical abstraction. Both of these idioms undergo a transformation through the dialogue that I generate, according to the group. Consumerism is

Fig. 46 Chin Wu, Have Way ( ć&#x153;&#x2030;ć&#x2013;š ), 2013, oil on canvas, 120 x 150 cm

overlaid and disfigured by a more personal and poetic visual language.

In this final year I finished the series of paintings I refer to as Back to

The feedback in the Doctorate seminar was supportive of my new direction. It was suggested that I should use one canvas to collage the paper in preparation and then use another canvas of the same size to paint the new picture in order to offer more freedom of structure.

discipline of calligraphic writing would bring more rationality to my creative process.

Calligraphy (Fig. 47). The importance of Chinese Zen aesthetics is its simplicity and its ethereal nature. My experiments with the form combine both colour and black

Fig. 43 Chin Wu, 2013, Boxes Series, 45 x 25 x 15 cm, acrylic on boxes, Artoll exhibition Germany

line calligraphy in one painting, inspired by the aesthetics of traditional Chinese calligraphy and the abstract expressionism of artists such as Franz Kline, Robert Motherwell and Mark Tobey. As I experimented with this combination I decided to simplify the background to emphasise gestural handwriting. Fig. 47 Chin Wu, Zen, 2012, oil on canvas, 120 x 160 cm, solo exhibition in Taiwan

Chinese calligraphy painting

be related to the importance of dynamism or in Tobey’s words, the “Calligraphic Impulse”. This idea had taught him how to create movement (Fig. 49). For him this

At the same time as I was developing a more controlled approach I also wanted

meant the suggestion of the dynamic character of the big city with which he was so

to increase the power and dynamism in my paintings. Dynamism plays a central

familiar. In the first of his series of paintings, White Writing, the topic of which was

role in the Zen philosophy. As one expert in the field of Zen has explained, “ Zen

Broadway in New York (Fig. 50), Tobey described the constant change surrounding

is doing, the one with dynamism. The way of expression is not important” (Suzuki,

him, the continuous motion of the city. “I presume current painting must be looked

1991: 75). This attitude is the result of Zen’s world view.

at for what the Orientals would admire - the original energies. This is so much admired in calligraphy. ”

My growing interest in American Abstract Expression led me to the work of the American artist Mark Tobey. Tobey, who visited China and Japan, was clearer than other Western artists about the influence of the East on his work and in

Fig. 52 Chin Wu, Zen, 2013, oil on canvas, 120 x 160 cm, solo exhibition in Taiwan

particular the essential role calligraphy came to play in his paintings.

In a way Tobey’s style not only evokes calligraphy but also the Zen Chinese painter’s method of portraying the forever changing landscape around them. The representation of dynamism is more important for both Tobey and the Zen Masters than the illustration of outlines or shapes. Tobey wrote: “The development

The idea of dynamism was very important to Tobey (Fig. 48). He expressed its

of my work has been I feel more subconscious than conscious. I do not work by

significance to his painting with comments such as “My work is obviously in a state

intellectual deductions. My work is a kind of self-contained contemplation” . Tobey

of continual flux” and “I want vibration in it. Everything that exists, every human

(Fig. 50) tried to achieve the effect of movement by applying many layers of “moving

being is a vibration….” He believed that the idea of the “continuum”- something which greatly appealed greatly to him - was typically Oriental. He explained that his Chinese friend Teng Kuei once asked him why Western artists only painted dead

Fig. 54 Chin Wu, , 2014, oil on canvas, 36 x 42 cm

lines” on top of one another. Parallels can be found between the lines in his abstract works and the calligraphy of the Far East, both parallels can be found with the Chinese calligraphy style and Japanese cursive handwriting.

fish; he felt that Western paintings lacked vitality. Tobey also described dynamism in Chinese paintings in a letter to his friend Marion Willard:

In 1957 Tobey spent several months painting a series of spontaneous works in the traditional Chinese calligraphy painting style (Fig. 51) using the appropriate

“The old Chinese used to say: It is better to feel a painting than to look at

materials. The dynamism in these works is even greater than in his White Writings

it. So much today is only to look at. It is one thing to paint a picture and

series and reflects his actual working method. In fact, the procedure he used to

another to experience it: in attempting to find on what level one accepts

create the monochrome effect of white and black can be described as careful

this experience, on discovers what one sees and on what level the discovery

rather than dynamic.

takes place. Christopher Columbus left in search of one world and discovered another. ” The most important result of Tobey’s training in Japan in fact appeared to

Dynamism can be clearly observed in a Zen Master’s working method in

made light of any influence (Fig. 55) from the East. He wrote:

calligraphy and Chinese brush painting in the spontaneous use of the brush. Suzuki wrote, “Life itself must be caught in the center of its flow; to stop it for

I never started out with that being consciously a style or attitude about

inspection and analysis is to kill it” (Suzuki, 1991: 75). Oneness is only attained

painting. Sometimes you do have a definite idea about what you're doing

after a disciplined learning process; the later spontaneity then comes from Nature

and at other times it all just seems to disappear. I don't feel mine is the most

itself. The spontaneously painted lines in a Zen Master’s painting and writing give

modern, contemporary, beyond-the-pale, gone kind of painting (Kline, 1960:

the work a dynamic expression (Fig. 52). Even the empty part displays a “quiet dynamism.”

Fig. 56 Chin Wu, Fragment of the Journey No 1, 2014, Artoll residency German

155). Kline’s painting influenced my style. I used large blocks of black and white

While I was at Artoll in Germany during March 2014 (Fig. 54), I was drawn

and red to create the painting Fragment of the Journey No 1 (Fig. 56), in my third

to the work of the American abstract expressionist painter Franz Kline (Fig. 53)

year at Artoll. This art work also used the idea of an empty space (Wabi Sabi)

for his bold use of line and gesture. Kline, another painter who was influenced by

at the center of the composition. This painting is my way of using a montage of

John Cage, is most famous for his black and white abstractions, which have been

approaches to combine calligraphy and abstract as part of my every day streams

likened variously to New York's cityscape, the landscape of his childhood home in

of consciousness. The individual canvases form a story which is a metaphor for the

rural Pennsylvania and Japanese calligraphy (Fig. X). The poet and curator Frank O'Hara noted “Kline is the quintessential 'action painter', and Kline's black and white

Fig. 59 Chin Wu, Fragment of the Journey-2, UEL exhibition, 2014, London

paintings certainly helped establish gestural abstraction as an important tendency

Journey I have taken within my practice. I had first seen her work in New York. I found myself interested in Browns

within Abstract Expressionism” (O’Hara, 1958: 155).

“ambiguity”; the mixture of figurative depiction and abstraction. The ambiguity of Eastern and Western culture that I wanted to develop in my new work (Fig 59, 60).

Kline said “Instead of making a sign you can read you make a sign you can’t

It has become a primary strategy for forming compositions that explore cultural

read”. Helen Westgeest, in her book Zen in the Fifties, commented: “Yet when Kline

differences. I present opposing cultural images and visual languages together in

switched from figurative to abstract work in about 1949, he made preliminary

one painting. For example, I use an image inspired by the “floating mind” philosophy,

sketches which are far more evocative of calligraphy from the far East”

such as the goldfish or the landscape (Fig. 60), combined with painting techniques taken from Abstract Expressionism. The use of cultural symbols demonstrates my

Furthermore, the British philosopher Alan Watts claimed in his autobiography that he actually introduced Kline to Zen and was certain there was a connection between Kline’s work and Zen. More evidence suggesting that Kline (Fig. 55) was identified in various circles with Zen can be deduced from a special issue of the

journey, illustrating the dislocated experiences I have encountered, the beauty that Fig. 60 Chin Wu, Fragment of the Journey-3, UEL exhibition, 2014, London

comes from the passage of time, and with it the lonely sense of impermanence it evokes. These symbols define as the natural cycle of birth and death in Fragment of the Journey (Fig 59, 60).

Chicago Review on Zen published on 1958. A work by Kline was included among the articles as an example of an artist who was influenced by Zen. Kline himself 48

油畫

真實的存在

超越空間

91.5x116cm

油畫 / 畫布

2018

2016

生命的三原色

東方的幸福

91.5x116cm

油畫 / 畫布

2016

力量

東方之龍

91.5x116cm

油畫 / 畫布

2016

東方書寫

吳日勤

91.5x116cm

油畫 / 畫布

複合媒材 / 畫布

2016

2014

自由的魔法

幸運符

91.5x116cm

油畫 / 畫布

2016

包容

反叛的精神

72x91cm

91.5x116cm

油畫 / 畫布

2013

2016

文化的底韻

大自然的力量

91.5x116cm

72x91cm

油畫 / 畫布

2014

綠野仙踪

神燈

91.5x116cm

150x150cm

油畫 / 畫布

2016

2015

方

背影

91.5x116cm

180x280cm

油畫 / 畫布

2016

2012

金色的大地

森林裡的故事

91.5x116cm

油畫 / 畫布

2016

鯉躍龍門

神木

91.5x116cm

油畫 / 畫布

2016

不完美中的完美

晚霞

42x80cm

91.5x116cm

油畫 / 畫布

2014

2016

女人

東方的印記

180x280cm

91.5x116cm

油畫 / 畫布

2012

2016

紅色意象

生命的歷練

91.5x116cm

油畫 / 畫布

2016

大海與天空

雀躍的心情

130x162cm

91.5x116cm

油畫 / 畫布

2013

2016

雙贏

遠望

91.5x116cm

油畫 / 畫布

2016

情感的流動

顛覆

91.5x116cm

97x130cm

油畫 / 畫布

2016

留白的線

微笑

91.5x116cm

油畫 / 畫布

2013

2016

新貌

飛馬

91 x 116cm

130x162cm

油畫 / 畫布

2016

2015

舞蹈

詩性的書寫

91.5x116cm

油畫 / 畫布

2016

2014

銀河

天真

273x648cm

78x120cm

綜合媒材 / 畫布

壓克力 / 畫布

2014

2015

零極限

德國戀曲

91x116cm

91.5x116cm

油畫 / 畫布

2016

2014

千里之外

生命的角落

70x90cm

91.5 x 116cm

油畫 / 畫布

2015

書法的底韻 220x320cm 複合媒材 / 畫布 2014

100

情感的流動

夢裡的溫柔

91.5x116cm

72x91cm

油畫 / 畫布

2016

101

102

心有靈犀

春風

91.5x116cm

油畫 / 畫布

2016

103

104

慢活

森林裡的光

91.5x116cm

油畫 / 畫布

2016

105

106

風的方向

海洋

91.5x116cm

油畫 / 畫布

2016

107

108

仲夏的旋律

自我

91.5x116cm

91x116cm

油畫 / 畫布

2016

109

110

春天的腳步

無獨有偶

73x91cm

91.5x116cm

油畫 / 畫布

2015

2016

111

112

跳躍的線條

橋

91.5x116cm

91x116cm

油畫 / 畫布

2016

113

114

世界觀

時間的歌

73x90cm

80x100cm

油畫 / 畫布

2015

2016

115

116

旅行

原始的開端

105x224cm

91.5x116cm

油畫 / 畫布

2015

2016

117

118

山

英倫

78x120cm

130x162cm

壓克力 / 畫布

綜合媒材 / 畫布

2015

2014

119

120

眩惑與迷戀之間

自由

91.5x116cm

78x120cm

油畫 / 畫布

2016

2015

121

自然 120x648cm 油畫 / 畫布 2016

122

123

124

創造力

眼睛

68x120cm

132x162cm

油畫 / 畫布

2015

2016

125

126

存在未知的想像

大自然的洗禮

91.5x116cm

油畫 / 畫布

2016

127

128

遠古之馬

Chin

130x162cm

88x120cm

油畫 / 畫布

2016

2015

129

130

自由發想

完成

91.5x116cm

78x120cm

綜合媒材 / 現成物

油畫 / 畫布

2016

2015

131

132

天自安排

馳

91x116cm

91.5x116cm

影像輸出 / 油畫 / 畫布

油畫 / 畫布

2015

2016

133

134

對話

直覺

91 x 116cm

油畫 / 畫布

2015

201

135

136

星座

慶祝

91.5x116cm

油畫 / 畫布

2016

137

138

曠野寄情

專注

91.5x116cm

油畫 / 畫布

2016

139

氣與勢 130x194cm 油畫 / 畫布 2016

140

141

142

瞬間

關鍵

91.5x116cm

油畫 / 畫布

2016

143

144

存在

對話

78x120cm

91.5x116cm

油畫 / 畫布

2015

2016

145

146

歐洲的故事

世界觀

91.5x116cm

80x100cm

綜合媒材 / 畫布

2013

2016

147

148

天梯

放下

130x162cm

91x116cm

油畫 / 畫布

2015

2017

149

150

信任

哲學

91x116cm

80x100cm

油畫 / 畫布

2015

2018

151

152

能量

91x116cm

130x162cm

油畫 / 畫布

綜合媒材 / 畫布

2016

2017

153

154

摯愛

德國的森林

91.5x116cm

100x160cm

油畫 / 畫布

2016

155

156

真相

空

91.5x116cm

油畫 / 畫布

2016

157

158

接受

跨領域

91x116cm

91.5x116cm

油畫 / 畫布

2017

2016

159

160

生命記錄

五彩山

130x162cm

91.5x116cm

油畫 / 畫布

2016

161

162

全然

音樂

78x120cm

91.5x116cm

壓克力 / 畫布

油畫 / 畫布

2015

2016

163

164

宇宙的秘密

五彩玉

91.5x116cm

130x162cm

油畫 / 畫布

2016

165

166

寧靜的幸福

書寫台灣源

72x91cm

91 x 116cm

油畫 / 畫布

影像輸出 / 油畫 / 畫布

2016

2015

167

168

獨家

魔毯

91.5x116cm

60x73cm

油畫 / 畫布

2016

2018

169

170

奔放

存在

91.5x116cm

油畫 / 畫布

2016

171

172

你要什麼

另一個層次

91x116cm

91.5x116cm

油畫 / 畫布

2016

173

174

晨光

心靈深處

91 x 116cm

91.5x116cm

油畫 / 畫布

2016

2015

175

176

人生如夢

花團錦簇

91 x 116cm

油畫 / 畫布

2015

2016

177

178

心弦

金色豪門

91 x 116cm

油畫 / 畫布

2015

179

180

巴黎

舊金山回憶

100x100cm

130x194cm

油畫 / 畫布

2016

181

初生 116 x 182cm 油畫 / 畫布 2016

182

生氣蓬勃 91 x 116cm 油畫 / 畫布 2016

183

184

新的洞見

城市故事

78x120cm

150 x 150cm

油畫 / 畫布

2015

2016

185

186

墜入中古世紀的藍

天上人間

116 x 91cm

91.5x116cm

油畫 / 畫布

2016

187

如何 91 x 116cm 油畫 / 畫布 2015

188

未央歌 91.5x116cm 油畫 / 畫布 2016

189

190

英倫日記

榮華富貴

91.5x116cm

72x91cm

油畫 / 畫布

2016

2013

191

192

山海經

超越

91.5x116cm

102x128cm

油畫 / 畫布

2016

193

194

巨濤

原由

91 x 116cm

91.5x116cm

油畫 / 畫布

2015

2016

195

196

海棠秋色

曦山

91.5x116cm

油畫 / 畫布

2016

197

198

龍騰再現

心靈能量

91.5x116cm

油畫 / 畫布

2016

199

200

泰山

正面能量

91.5x116cm

91 x 116cm

油畫 / 畫布

2016

2015

201

202

夢裡的溫柔

張力

72.5x91cm

91.5x116cm

油畫 / 畫布

2016

203

204

源遠流長

小提琴

91.5x116cm

80x100cm

油畫 / 畫布

2016

2015

205

206

金枝玉葉

生命之樹

91.5x116cm

油畫 / 畫布

2012

2016

207

208

友誼

綻放

73x93cm

91x116cm

油畫 / 畫布

2015

2014

209

210

後現代的書寫

體驗

73x90cm

91x116cm

油畫 / 畫布

2015

211

212

花海

金玉滿堂

73x93cm

91.5x116cm

油畫 / 畫布

2014

2016

213

214

相逢

傾聽

91.5x116cm

油畫 / 畫布

2015

2016

215

216

堅毅

自由的國度

91.5x116cm

油畫 / 畫布

2015

217

хвих╜й

218

219

奇幻的旅程 70x135cm 綜合媒材 / 宣紙 2012

220

221

222

心湖倒影

花的構圖

91.5x116cm

綜合媒材

油畫 / 畫布

2012

2016

223

224

倒影

金色年代

179x97cm

96x134cm

綜合媒材 / 宣紙

2012

225

226

生命

黃金樹

91.5x116cm

97x179cm

油畫 / 畫布

綜合媒材 / 宣紙

2016

2012

227

大地之母 97x179cm 綜合媒材 / 宣紙 2012

228

229

230

舞春風

我愛你

97x179cm

91.5x116cm

綜合媒材 / 宣紙

彩墨 / 宣紙

2012

2015

231

鳳凰

桃花源

91 x116cm

97x179cm

彩墨 / 宣紙 2015

綜合媒材 / 宣紙 2012

232

233

234

情人的眼淚

愛戀

91.5x116cm

420x300cm

油畫 / 畫布

2016

235

奇幻 97x179cm 綜合媒材 / 宣紙 2012

236

237

238

捉迷藏

花的可能性

420x110cm

90x160cm

油畫 / 畫布

2016

239

彩瓷

240

241

242

情人

30x30cm

20x38cm

瓷版畫

2016

243

244

花的意象系列之 1

花的意象系列之 2

78x12x12cm

30x11x11cm

瓷器

2018

245

花的意象系列之 3 40x12x12cm 瓷器 2018

246

247

吳日勤履歷

學歷

University of East London 英國倫敦東倫敦大學

Academy of Art University 美國舊金山藝術大學

Doctor in Fine Art, 2014

National Taiwan University of Arts 國立台灣藝術專科學校

藝術博士畢業

2007

Master of Fine Arts, 2000

2006

藝術碩士畢業

Bachelor Degree of Fine Art 美術科國畫組畢業 1995

教學經歷

助理教授國立台灣藝術大學人文學院中華藝術研究所 ( 全英文授課 ), 2015/8~2016/1 助理教授龍華科技大學多媒體與遊戲發展學系 ,2016/9/5~ 2018/6/30 講師

南台科技大學視覺傳達系 ,2015/02~2015/07

講師

中國科技大學數位多媒體設計系 , 2010/08~2011/07

講師

長榮大學美術系 , 2009/09~2011/01

講師

龍華科技大學多媒體與遊戲發展學系 , 2010/02~2011/07

主要個展 2018

台中 , 琳藝術空間 -[ 溯源 ] 個展

2017

台中 , 原顏藝術空間 -[ 山色有無中 ] 個展

2017

台北 , 第一銀行 -[ 書寫的當下樣貌 ] 創作個展

2016

台中 , 原顏藝術空間 -[ 台灣書寫 - 底蘊 ] 個展 (Inner Secret )

2016

台南 , 醉美畫廊 -[ 台灣書寫 - 主體認同與書寫指涉 ](Calligraphy of Taiwan)

2015

台南 , 台南文化創意園區 -[ 綠色隧道奇幻異想 ] (Green Mangrove Tunnel)

2015

德國 , 伯格罕 Artoll 藝術組織 Chin Wu 當代個展 -[ 冷析 ] (Kondensat)

2015

2013

台北 , 國立台灣藝術大學國際展覽廳 -[ 內心風景 ] 創作個展

2016

2014

台北 , 國家世紀館 -[ 生命的痕跡 ] 個展

2017

台北 , 白月光畫廊 -[ 線條在畫布上跳舞 ] ( Line Dancing on Canvas)

2012

248

台南 , 祉依然藝術空間 -[ 台灣書寫 ] (Writing of Taiwan)

台北 , 看見藝術畫廊 -[ 書法片段 ] ( The Fragment of Calligraphy)

台北 , 台灣文創生活館 -[ 書法片段 ] ( The Fragment of Calligraphy)

2005 2005 2004 2003

美國紐約 C.S.M. 畫廊 --[ 夢之都 -- 紐約 ] (City of Dreams)

中國上海安德雷思國際藝術中心 --「筆觸」(Brush Stroke)

中國北京 798 藝術區韓畫廊 -- 微觀 (Size) 韓國 , 首爾 J. J. 畫廊 --- 夢 (Dream)

美國西雅圖 DELIGHT HAMILTON 畫廊 - 片刻 (Moment) 台灣卡氏珍藏畫廊 --- 夜 (Night)

台灣壢新藝術中心 --- 情感的筆觸 (Feeling of Brush Stroke)

美國 RUNAKO 畫廊 --[ 光色 & 思考 ] (Spectrum Introspect)

台灣壢新藝術中心 --- 情感的筆觸 (Feeling of Brush Stroke)

美國 RUNAKO 畫廊—[ 光色 & 思考 ] (Spectrum Introspect)

台灣梵藝術中心 ---[ 光 ] (Light)

台灣誠品畫廊 ---[ 線性的生命 ] (Energy)

美國舊金山 HANG 畫廊—[ 城市沉思 ] (Contemplation of City)

美國紐約曼哈頓時代廣場 MASON 畫廊 ---[ 紐約沈思 ] (Contemplation of New York)

台南梵藝術中心—[ 有關光的一些事 ] (Some Thing about Light)

美國舊金山 HANG 畫廊—[ 城市反射 -- 紐約 ] (City Reflection)

2000

美國舊金山藝術大學 BUSH 畫廊—[ 城市之光 -- 舊金山 ] (City Light)

主要聯展 2017

2017

2016 2016

台北 , 台北花博公園爭豔館 -[ 台灣當代一年展 ]

2014

台南 , 梵藝術中心 -[ 書法片段 ]( The Fragment of Calligraphy)

2010 2009

台灣當代一年展 , 台灣視覺藝術協會 , 台北花博藝術館台南市台南美術研究會年展 , 台南市立文化中心

2014

2010

台南市台南美術研究會年展 , 台南市立文化中心

2015

2010

台中畫廊博覽會 , 原顏畫廊 , 台中日月千禧飯店

2015

2013

台南 , 國立台南生活美學館 -[ 不期而遇夢幻三重奏 ] 三人聯展

2016

台北 , 看見藝術畫廊 -[ 書法片段 ] ( The Fragment of Calligraphy)

英國倫敦 , 東倫敦大學 , 藝術博士班 Show Case, AVA 畫廊

2001

2012

英國倫敦 , 東倫敦大學 , 藝術博士班 Show Case, AVA 畫廊

2002

台南 , 梵藝術中心 -[ 書法片段 ] ( The Fragment of Calligraphy)

台中 , 有寬藝術 -[ 書法片段 ] ( The Fragment of Calligraphy)

2008

台灣當代一年展 , 台灣視覺藝術協會 , 台北花博藝術館

被德國 Artoll 藝術組織 , 邀選為 2015 年夏季代表英國當代藝術家 , 於國際年會聯展

Directional Forces, Artoll, Artist in Residence, Bedburg Hau, Germany “ 森林之方向 ”, Artoll 國際十五國聯展 , 伯格罕 , 德國

Directional Forces, Artoll, Artist in Residence, Bedburg

Hau,Germany“ 森林之方向 ”, Artoll 國際十五國聯展 , 伯格罕 , 德國台南 “ 不期而遇 - 2” 五人聯展 , 南商畫廊

Directional Forces, Artoll, Artist in Residence, Bedburg Hau, Germany “ 森林之方向 ”, Artoll 國際十五國聯展 , 伯格罕 , 德國

台灣藝術大學校友聯展 , 國立台南生活美學館台南 “ 不期而遇 ” 五人聯展 , 新港社文化館

舊金山藝術大學台灣校友會創作聯展台北六號星球藝術空間台南市台南美術研究會 , 台南市立文化中心 , 台灣新生代藝術

249

2008

美國紐約 KATHARINA RICH PERLOW 畫廊當代展

台南亞帝畫廊 --[ 府城美術節 -- 南美嘉年華 ] 台南美術研究會

2007

美國紐約 PETER FINDLAY 畫廊—[ 光與速度 ] (Light and Speed)

2006

加拿大溫哥華 Vancouver Fine Art 畫廊—[ 夢與片刻 ]

2005 2004

韓國漢城 J.J. 畫廊 , 紐約當代之藝術狀況美國紐約 Alp 畫廊 - 亞洲新藝術展

台灣亞洲藝術中心 - 新銳展

德國科隆國際藝術博覽會 --- 紐約 Alp 畫廊

台灣鳳甲美術館 --- 浪遊者 The Flaneurs

2003

中國上海春季藝術沙龍 --- 美國紐約 Alp 畫廊經紀

台灣世華藝術中心 SEAWARD ART CENTER- 新銳畫家展

2002 2001

2000 1999

獲獎

美國柏克萊 HANG PALO ALTO 畫廊當代三人聯展

美國舊金山 THE MILL & SHORT 畫廊 ---[ 形與色 ](FORM AND COLOR) 美國舊金山 CANVAS 畫廊—[ 夜之光 ] (NIGHT LIGHT) 美國舊金山 HANG 畫廊—[ 生命之雨 ] (RAIN DROPS) 美國舊金山藝術大學 Bush 畫廊碩士班聯展

美國舊金山藝術大學國際藝術節 - 代表台灣當代藝術

2015

德國 Artoll 藝術組織 , 邀選為 2015 年台灣代表當代藝術家

2006

美國長島 ART LEAGUE 聯盟一等獎章

2007 2002 2001 1997 1996

1995

美國紐約蘇活區藝術獎 THE SOHO INTERNATIONAL ART COMPETITION 美國舊金山藝術大學春季特展 SPRING SHOW

美國舊金山 HANG 畫廊 “ 一萬種顏色的白 ” (ONE MILLION SHADES OF WHITE) 特選獎台灣國軍文藝金像獎

台灣空軍藍天美展金鷹獎

國立台灣藝術專科學校 , 師生美展書法第一名

在地跨文化創作與教學研究

2015 年定居並成立台北工作室並創作 , 並任教於國立台灣藝術大學人文與藝術教育研究所中華藝術學程 ( 全英文授課 )

2011 年到 2014 年住於倫敦為期三年多博士班的歐洲前衛當代藝術理論研究創作 2009 年到 2011 年於長榮大學 , 中國科技大學 , 龍華科技大學任教

2008 年為期一年實地定居中國北京 798 當代藝術區之藝術村專業創作 , 理論研究 2000 年到 2007 年與美國 Hang 畫廊開始合作 , 並定居紐約曼哈頓專業創作研究 1997 年到 2000 年飛到美國舊金山居住在當地創作與研究並完成藝術創作碩士班

250

251