色彩“跷跷板” Color “Seesaw”
2018-10-08

Color “Seesaw”

 

Painting is to deal with the relationship between different things on the canvas, such as relying on each other, contrasting with each other, as well as restraining each other. At the end, a certain kind of tension would be generated. Painting has to be balanced and complemented each other. This is really hard to do but it is also quite fun. When you draw certain object, what you actually focus may be just the other things next to it. There is no absolute color on the canvas. It is just a relative effect and can be shifted around. The color can be adjusted back and forth on both sides in order to achieve the most satisfying result like playing on a seesaw. This is like enjoying the fun in the adventure.

 

According to the general perception, the color of lotus leave is always green. But under different light, a variety of color tones would be generated which provides a lot of room for painter to mix the color. For someone like me without strong foundation of painting, it even provides a variety of creative possibilities in terms of coloring. When painting lotus and lotus leaves, we must first have a general concept of how they look like and then we must get rid of their restriction on their appearance. Since I do not have the basic skill of depicting lotus and lotus leaf, there is no need to break any restriction. The “feeling” and “temperament” of lotus and lotus leaf can only be found at the arbitrary graffiti. Perhaps, the relationship between every object on the canvas doesn’t need to be expressed and reflected clearly. Sometimes, it is better to become entangled so that everything can be showed vaguely and some mistakes can be hidden as well. Under the range of limited space and the delicate connection, with my premature painting technique, I vaguely can see the holy light of lotus.

 

Nothing on the canvas can be existed independently. Isn’t this the truth in our society and in the real life? The relationship between people is inseparable from entrusting each other, comparing each other as well as containing each other. Being able to survive in society is not related to how good you are when you are alone. Instead, it depends on whether you are being recognized or appreciated within your social circle as well as how outstanding you are in society. Relationships and emotions between people sometimes cannot be crystal clear. Under the subtle emotion, people get along and love each other elusively. When everything is clear, it is always close to the ending.

 

I have always had motion sickness and I cannot even ride a bicycle. However, I enjoy very much to play with the color “seesaw” and I am too excited to finish too early.

 

 (13 March, 2011, “Hong Kong Commercial Daily” Siu Fun Kee's column, “Fun Kee's Articles About Art”)

 


色彩“跷跷板”

 

画画就是处理画面上不同东西彼此之间的关系:互相衬托,又互相对比,互相牵制,产生一种张力。画面要取得平衡,相得益彰,实在相当考功夫,也相当好玩。当画一个东西时,其实眼光所关注的,可能恰恰是旁边的其他东西。颜色在画布上并没有绝对性,都只是相对的效果,此消彼长,像玩跷跷板,两边来回调节,以求自己最满意的结果,在“惊险”中体味个中乐趣。

 

在一般概念中,莲叶是绿色的,可是在不同光线下,会产生形形色色的颜色调子。这为绘画提供了许许多多调配颜色的空间。而对于没有绘画基础的我,更是提供了用色上各种各样的可创性。当绘画莲花和莲叶时,先要有造型的概念,再要破除造型的框框,我根本没有造型的基本功,也就没有什么限制可以破除了。只能在肆意涂鸦中,寻找莲花和叶子的“味儿”和“范儿”。也许,并不是画面上每一个物体都能够、或需要把它们之间的关系表达和体现得很清楚,有时在纠缠之间似乎吐露些什么,若隐若现,或可遮丑藏拙。在这方寸之间,在这微妙的牵连中,在我稚嫩的画技下,我隐约看到了莲花圣洁的光芒。

 

画面上的任何一样东西,都无法独立存在。在社会上,在生活当中,其实也不就是这个道理吗?人与人之间的关系,也脱离不了彼此的衬托、对比和牵制。能够很好地生存于社会,并不是自己独处时有多棒,而是在生活圈子,在社会上有多突出,有否被认同与赞许。人与人之间的关系和情感,在许多时候也是无法闹得一清二楚,在那种微妙的情感中,若即若离地相处着、相爱着。到了闹清楚之时,往往也就是完结之时了。

 

我的平衡力一直不好,连骑自行车都不会,但却非常享受玩色彩的“跷跷板”,乐不思蜀。

 

 

       (2011年3月13日,香港《商报》萧芬琪“琪文艺事”专栏)