Weaves Series 織系列

Weaves Series

China was one of the earliest civilisations to produce textiles, with silk being the most celebrated. Around the beginning of the first century CE, Chinese silk made its way along the fabled Silk Road to Europe. It played a positive role in fostering economic and cultural exchanges between East and West.

Broadly speaking, weaving is the technique of interlacing linear or strip-like materials through repeated crossings to create flat or three-dimensional forms. The resulting surface features materials overlapping in repetitive patterns to create recurring networks. The edges are finished using different methods such as stitching, binding, or concealing within other materials. By varying the interlacing of warp and weft threads in patterns such as plain weave, twill, satin, combined, or complex structures, a diverse array of fabric textures and designs emerges.


In the Weave Series the artist takes ‘weaving’ as metaphor, intertwining simple, direct linear elements into ever-shifting abstract paintings. A single ‘thread’ of paint, by shifting from sparse to dense crossings or even leaving negative spaces, forms countless graphic configurations, pushing the purity of abstract visual language to its limits.


Historically, Chinese textiles are designated by their distinct weaving techniques and styles, for example, Ling (綾damask), luo (羅gauze), chou (綢silk), duan (緞satin), and jin (錦brocade). In his ‘Praise of the Embroidered Bodhisattva Guanyin (Preface)’, Bai Juyi of the Tang dynasty wrote, ‘Needle and coloured silk are threaded; gold is latticed, pearls are strung.’ Similarly, the artist’s brush—like shuttle and reed on a loom—draws pigment through layered colour fields, ‘with meticulous precision’ to create a ‘fabric’ of innumerable hues.

The linear motifs in the Weave Series also evoke traditional Chinese knots. Each basic knot is named for its form and meaning. When different knots are combined or paired with auspicious symbols, such as ‘Abundance and celebration( jiqing youyu 吉慶有餘) ’ or ‘Double blessings of happiness and longevity (fushou shuangquan) 福壽雙全)’ , they become blessings and prayers.

The floating patterns in these paintings are likewise composed of single filaments, braided into new configurations resembling the original Chinese knots. Freed from their traditional fixed symbolism, they remain thought-provoking and open to interpretation.

織系列

中國是世界上生產紡織品最早的國家之一，最著名的紡織品莫過於絲綢。公元前後，中國絲織品經過著名的「絲綢之路」輾轉傳到歐洲，對溝通東西方經濟和文化產生了積極作用。編織，在廣意上是指將線狀或條狀的材料，經過重覆交疊過程，形成平面或立體的技術。

編織品的表面，材料因重覆交疊，會型成循環出現的網，中間用不同的交疊方式收邊，或是縫合，又或是夾藏在其他材料中。組合裏經緯線間不同的交錯方式，如平紋、斜紋、緞紋、聯合或復雜形態等，帶來了多種多樣的布料肌理與圖案。

藝術家以「織」為喻，在《織系列》中透過單純直接的基本線條元素交織成萬千變化的抽象繪畫。畫作中，一條「織線」，通過或疏或密的交錯構面，甚至縷空，能完成無數種圖形組合，將抽象視覺語言的純粹性推向極致。中國的「綾、羅、綢、緞、錦」五種織物，便是跟從不同織法不同樣式來稱呼的。唐代白居易〈繡觀音菩薩讚．序〉：「紉針縷綵，絡金綴珠。 」，而畫筆帶領不同色彩的顏料「穿針引線」，在層層疊疊的色域間游走拖行，就像織機上的梭和筘，以不同顏色的
線「 絲絲入扣」，織就混和萬千顏色的「面料」。

《織系列》中，一個個由線條結成的圖案也令人聯想起傳統的中國結，中國結由線或繩編成， 每一個基本結根據其形、意命名。把不同的結飾互相結合在一起，或用其他具有吉祥圖案的飾物搭配組合，如「吉慶有餘」、「福壽雙全」等組配，以表示祝福或祈求。畫作中飄浮的圖案以單線組成，就如中國結以原始的繩編交織出不同組合的結，但脫離傳統文化的符號意義，卻耐人尋味，引人聯想。