Preface of “Painting of Reverberation”

 

Since the beginning of mankind from the emergence of the murals in the Chauvet Cave, painting has never been absent from the history of art. The ongoing social, cultural, and historical growth of diverse places has contributed to modify the meanings of art by allowing art to engage with other knowledge and academic subjects. These made the conditions for the creation, dissemination, and consumption of modern art changed dramatically. The advent of cross-border and multimedia in the wave of art has answered the ever-changing sociocultural needs. In face of conceptual art's determination to undermine the system, the role and identity of painting have shifted drastically. How can a medium with such a deep history be detached from conventional culture, and to establish a modern creative language that reacts to the cultural change? Such a historical logic of artwork evolution and the growth of its "modernity" necessitates in-depth discussion—in which the paintings of Christopher Ku apply a cross-regional and cross-cultural nature to simply allows us to consider the future of contemporary painting. 

 

Christopher Ku was born in Hong Kong in 1957 and studied painting in Taiwan in middle school before continuing his studies in the United Kingdom at the age of 19. He studied at Gray’s School of Art in Scotland to keep his interest in art and obtained a master's degree from the Royal College of Art in London in 1990. Paintings at the period underwent changes in nature and responsibilities because of the changing circumstances, allowing artists to create in a distinctive cultural and historical environment. As an outcome, while appreciating his work, the audience can perceive how an artist responds to the loud and chaotic societal changes by utilising painting as a medium to create a large realm and visibility.

 

Figurative Paintings from the Academy Period

 

Ku spent four years at Gray's School of Art, where he received rigorous training from British art academies, that helped him build a firm basis in sketching and oil painting. Under the teachings from professors such as Sylvia Wishart, Alexandra Fraser, Joyce Cairns, Derek Ashby, Ku learned not just the character of becoming an artist, but also the academically rigorous mentality. This is due to how these artists insisted on working on a solid foundation of painting throughout their careers, leading his current works to undergo thousands of alterations. The young artist, however, was not confined to this. While receiving art education in Western Europe, he detected a weirdness in the cosy environment of Aberdeen, which was to live in a foreign nation with diverse cultures, this made him maintained an inherited dubious feeling of "alienation". As a Chinese living in the midst of the East-West ethnic and cultural divide, it was hard for him to take for granted to adore the magnificent beauty of northern Scotland. As an"outsider", the artist began to analyse the world around him from the perspective of an outsider by incorporating this "abnormality" into his work. The works of Ku generally employed sarcastic imagery to depict the social inequality and condemned the abuse of power through paintings during this period. The ridiculous subjects, gloomy colour tones, and tragic mood of paintings are alarmingly attentive, and the sense of urgency exhibited constantly seems to encourage viewers to keep alert on civilization and reality, and to break free from the restraints of authority over people.

 

Naturally, the artistic approach of Ku during his school years contrasted sharply with the rather traditional British painting of the time, shocking the British art academies and earning the artist several accolades in academic fields and his reputation continued to grow. The shifting imagery and metaphors of his paintings instilled fear and tyranny in the audiences, prompting them to consider the clash between modern civilization and capitalism against humanity and nature. Such restless consciousness and heightened attentiveness have always been presented in his artworks. Furthermore, the early paintings of Ku showed that even as a student, he had already been capable of using colours and imagery skilfully and put his critical thinking into practise on the canvas. His distinct aesthetic sensibility and ability to handle large-scale works have paved the path for the artist to move on with abstract paintings.

 

Beyond YBA—The Parallel Artistic Attitude to the Postmodern Tide

 

Ku earned an unconditional offer from the Royal College of Art in 1988 and moved to London to study a master's degree. Apart from Callum Innes, Anish Kapoor, and Chris Ofili, the YBA (Young British Artists) of the time, most of whom graduated from Goldsmiths, University of London, and the Royal Academy of Arts in the 1980s and 1990s, such as Tracey Emin, Jake, and Dinos Chapman—were all classmates or pals of Ku and helped created an unbreakable academic tie with one another.

 

YBA is known for "Shock Art”. Under the banner of postmodernism, its unconventional and rebellious works have drawn immense attention in the UK and across the world during the 1990s. As a result, the triumphal attitude of conceptual art created by postmodern concept which dominated the contemporary art environment of the time. Painting, which carries the burden of tradition, has been attacked for being dogmatic and losing its energy in comparison to rising conceptual art and new media art. The radical voices claimed that "painting is dead" ,the old and conservative medium should be phased out and replaced by conceptual art. Whereas YBA was associated with avant-garde art and fashion during the time. Contemporary art has evolved from an elegant culture that only existed in artist studios, galleries, and museums to a topic widely discussed by the mass media and the general public; conceptual art and issued-based art have overturned everything and become the general definition of contemporary art; and London has become another significant centre of art after Paris and New York—due to the rise of the young artists.

 

The emergence of "avant-garde art" had become a dominant practice in the United Kingdom at the time, and artists rebelled against previous art consensus and yearning for revolt and revolutionary standpoint forcing art to meet their need. Ku, who was based in London, could be considered to be in the epicentre of events. He was aware of the alterations that these events have brought about critical changes that postmodern art is a reaction against conservative forces and ideology at the time, it shows concern to the underclass and the vulnerables, re-emphasized the sensitivity of individual differences, and to strengthen the ability of art to bear multiple values. Fine art, on the other hand, was frequently labelled as "bourgeois", "institutional", "Elitism", and "grand narrative" throughout history, but this view understated the aesthetic experience of history of art which has always possessed the unique functions of self-sufficiency, organisation of creative imagination, emotion, sensory power, and connection to the long history, and it has always resisted the tendency of popular culture to suppress sublime art, which can never be replaced by political means. 

 

Therefore, Ku refused to follow suit and insisted on painting as the primary art practice. He argued that the postmodern analytical spirit and its initial impetus have diminished with time, and the postmodern theory is clearly insufficient to address the complicated social phenomena occurred in our time . The demise of the "culture industry", on the other hand, has left modern art befuddled. While one may not be wise to dismiss postmodernism's significance and contribution entirely, Ku recognised that painting must maintain its momentum amid this tidal wave. If an artist does not consider the above and instead embraces postmodernism wholeheartedly, he will fall into the trap. Painting can only be revitalised with a new attitude to ascend in the history of art by patience in the face of changing trends, latently and concentrating on the craft of painting, and through the refining and tempering of time.

 

The Turn of Abstract Painting--The Exploration of Metaphysical Spirituality

 

The history of painting is like the ancestor wisdom inherited to todays’ painters. It might be a spiritual legacy passed down through generations, or it can be a burden that stifles creativity. It all relies on whether or not each artist has the fortitude to forsake dogmatism in the realm of painting and embrace a pioneering spirit of invention. The artistic creativity should not be completely reliant on the medium. Although Ku specialises in oil painting, the independence of the painter is unrestricted by the medium or resources. Refused to rest on his laurels, and through the development of abstract paintings, he was able to break free from the confines of realistic painting and create a limitless spiritual refuge.

 

The artist began to leave his typical narrative painting method in the early 1990s, then exiled his thoughts to restudying metaphysical language. From the indifference of the social culture during his school days to the spiritual exploration; also from the criticism of the cultural conflict between the East and the West; to the questioning of the human existence, he expanded the realm of fantasy to the experimental exploration of materials and techniques— the powder coating recalls the ancient and primitive Parietal Art; the Zen-like wabi-sabi created by the collision of water-based acrylic and oil paint; the frottage technique reveals the wisdom of oriental folk art; and the floating symbols, patterns and organic substances made audience to appear to be immersed in paradoxical realm. The dedication of Ku to the rigorous pursuit of painterly texture in traditional painting, on the one hand, is reflected in the different visual styles and flexible use of methods, while on the other hand, he employs novel painting materials and techniques to promote the potential of art. This demonstrates that art does not have to rely on political sentiments to break through traditions of art history, and artists do not have to adhere to operational standards of art history with an unchanging style. People have always relied on information to create or view the world, yet knowledge and civilization have brought with them preconceptions and dogmas, which have come to dominate human thought. Moreover, the imaginations of people of the world are tightly confined by the structure and power produced by knowledge, as unravelling the mystery of human life has never been possible through matter, conflict, or technology, but rather immersing individuals in the everyday surroundings. Abandoning the expression of existing knowledge, the “Creationism” of artist is closer to a state of innocence by abandoning the rules and laws imposed by religion, politics, and history. He did not try to explain or define objects; instead, he re-understood and felt the essence of them through the lens of beauty.

 

The vision of artist is elevated to a level beyond the macro by spiritual awareness, and the breakthrough of Ku in abstract painting pushes his creative success to new heights. Audience is able to sense a mysterious and enormous spiritual power while walking through the artist's universe, yet he or she appears unable to comprehend its significance. Ku sighed once, "from beginning to end, humanity is the greatest mystery in the universe. The cosmos reveals its genuine body, but we have supplanted the unfathomable mystery of the universe." In his opinion, the more one tries to understand the truth, the further one gets from it. Rather of trying to deduce the meaning of the work based on one's own knowledge, it is preferable to try to grasp the point of view of the artist, and to realise that humans are so insignificant in the universe, sensing his aesthetic realm with authentic perception — this perhaps may bring the audience closer to a world beyond the mundane.

 

Conclusion 

 

People believe that, as a result of the overall tendency of "globalisation" and "diverse values”, all voices have been validated like never before. “Civilization” has achieved a new milestone; while “equal rights” has become an universal truth. However, the distinctions between “high/low art”, "elite/popular culture" and "consensus/dissent" have vanished, and they are no longer a topic of contention. In light of the world's present political, social, and cultural circumstances, European and American cultures just take a lead in a more sophisticated and deft manner. Painting was formerly seen as outmoded and practically neglected due to a power imbalance in the art sector. When confronted with public pressure and intervention, the artist utilised his enigmatic philosophy and belief in the noble artistic spirit to question the atmosphere of how politics and society were frequently interfered with art. Since the 1990s, the renowned artistic career of Ku has witnessed the ups and downs of painting, narrating a personal art history that runs parallel to the postmodern era. For many years, he has avoided to over-expose his works in the commercial market as he does not accept the ideological colonisation of popular culture. After all, the artist is concerned with where contemporary painting should be fit into a larger art historical context, as well as how contemporary painting might contribute to the advancement of art and culture.

 

The work of Ku demonstrates that the basic essence of painting art has never faded but still reminded despite the baptism of numerous historical waves. At this point, his paintings may provide some inspiration to both artists and audiences: perhaps the only way for humans to progress in this huge globe is to keep asking questions about what it means to forge ahead. Even if we are unable to obtain an explanation, we must continue to contemplate in order to comprehend the mysteries of reality.

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《迴盪‧繪畫》  序言

 

於悠悠藝術史長河中，繪畫從肖維岩洞壁畫發展至今，一直從未缺席，隨著各地社會文化和歷史沿革，當藝術與其他知識、學術領域作出互動，繪畫所承載的意義也有所不同。近代藝術的生產、傳播、消費藝術的條件無不發生了極端的變化，在藝術浪潮中，跨界和多媒體藝術的出現滿足了日新月異的社會文化需求，面對銳意顛覆制度的概念藝術進入藝術體制，繪畫的角色、身份亦因而經歷權力上的轉換，這種擁有悠久歷史的媒介如何從傳統文化中游離出來，回應時代變遷，演變出當代藝術語言？畫的歷史演進邏輯及其「現代性」的淵源流變的確需要進行深入的探討，谷敏昭畫作中跨地域、跨文化的特性，正好給我們一個契機，去思考當代繪畫的去向。

 

1957年生於香港，谷敏昭在中學時期於台灣學習繪畫，19歲遠赴英國留學。為了繼續專注藝術創作，他就讀於蘇格蘭的基爾藝術學院 (Gray’s School of Art)，並於1990年於倫敦皇家藝術學院(Royal College of Art)獲得碩士學位。其時，繪畫因時局變化而經歷性質和角色上的改變，藝術家在獨特的文化和歷史背景中創作，由此，觀看谷氏的作品，觀者看見的，是一位藝術家如何以繪畫媒介回應喧囂動盪的社會變化，用藝術去創造浩瀚的境界和見度。

 

學院時期的具像畫

 

於蘇格蘭基爾藝術學院的四年對谷敏昭不無影響，接受英國純藝術學院的系統性訓練，為藝術家奠下穩健的素描和油畫基礎。師承學院老師Sylvia Wishart, Alexandra Fraser, Joyce Cairns, Derek Ashby等，畫家出身的他們，傳承予谷敏昭的不僅是藝術家應有的風骨，還有嚴謹的治學態度。這些畫家一生堅持在厚實的繪畫根底上創作，以致日後觀者看到谷氏畫作上的萬千變化，都啟蒙自蘇格蘭藝術學院扎實的繪畫基礎訓練。然而年輕的藝術家並不自限於此，在接受西歐藝術教育的同時，對於鴨巴甸安逸舒適的氛圍，他隱隱察覺到一絲格格不入的異樣；身處異鄉，對於外來文化，出於一種幾乎與生俱來的感知，藝術家終究抱持一種「不輕信」的懷疑態度，身為中國人，面對東西種族文化衝突，他無法理所當然地享受英國北部的優美風光。把這種「異樣」帶進創作，作為「異鄉人」的畫家開始以局外者的視角觀察周遭世界。谷氏具像時期的作品多以嘲諷式的意象去揭示社會對人們的奴役，以畫作對權力所帶來的惡果作出無聲抗議。畫作中荒誕的題材，沉鬱的色調和悲劇氛圍帶有令人不安的警覺，所透露的憂患意識彷彿一直提示觀者應與文明和現實保持距離，掙脫權力對人的束縛。

 

自然地，谷敏昭在學時期的創作風格與當時相對保守的英國繪畫形成強烈對比，這的確震撼了當時的英國藝術學院，亦令藝術家在學術圈子屢獲殊榮，聲名漸彰。畫作多變的意象和隱喻造成焦慮情緒和壓迫感，似在逼迫觀者反思現代文明生活和資本主義的對人性和自然的衝突，這種不安的意識和警醒的狀態在谷氏的早期畫作中一直如影隨形。谷氏的早期畫作反映畫家早於在學時期已能嫻熟運用顏色和形象，把自己的批判思維實踐到畫布上，其獨到的美學觸覺和對駕馭大型作品的能力，均為日後藝術家抽象畫的轉向做了舖墊。

 

YBA以外--平行於後現代浪潮的藝術取態

 

1988年，谷敏昭獲得皇家藝術學院的無條件取錄﹐離開蘇格蘭到倫敦攻讀碩士課程。當時，除了Callum Innes, Anish Kapoor和 Chris Ofili外，同期的YBA(Young British Artists)—「英國青年藝術家」，其中大部分畢業於上世紀八九十年代倫敦的倫敦大學金匠學院(Goldsmiths)和皇家藝術學院，包括Tracey Emin、Jake and Dinos Chapman等，都不約而同曾為谷氏的同學或朋友，彼此在學術上結下不解之緣。

 

YBA因「震撼藝術」而聞名，帶著後現代主義的旗幟，藝術家破格、叛逆的作品於90年代起，在英國以至全球引起熱潮。是故，後現代思潮催生的概念藝術於當時以一種凱旋姿態主導當代藝術生態。相較新興的概念藝術和多媒體藝術，背負著傳統包袱的繪畫媒介則被批評變得僵化而失去活力，宣稱「繪畫已死」的激進聲音更主張陳舊保守的創作媒介理應被淘汰和革新。其時，YBA儼如前衛藝術和時尚的代名詞，通過年輕藝術家的崛起，當代藝術也不再是只存在於藝術家工作室、畫廊和博物館中的高雅文化，而是成為大眾傳媒和公眾廣泛談論的話題，概念藝術和議題藝術以席捲一切的陣勢，成為群眾對當代藝術的普遍理解，而倫敦則成為繼巴黎、紐約之後另一個世界級藝術中心。

 

當時，「前衛藝術」的發展在英國尉然成風，嚮往著反叛、破革精神的藝術家紛紛轉投新型藝術的陣地，力求顛覆保守的本土文化。身處倫敦的谷敏昭，可說是置身於時代的風眼中，意識到此等現象帶來的變化，藝術家對當代文化、知識的檢討可謂從未間斷，他認為後現代藝術無疑是其時對守舊勢力和意識型態的反動，它傾聽了弱勢聲音，重提個人差異的敏感性，豐富了美學取態，加強了藝術對多元價值的承受力，可是，「當代藝術」往往把純藝術貼上「資產階級社會產物」、「體制藝術(institution art)」、「精英主義」、「大敘事(grand narrative)」的標籤，但這種觀點忽略的是，純藝術的美學經驗一直具備自足性、組織想像、情感、感官力，和與藝術史長河的銜接的特殊功能，亦一直對抗普及文化壓逼崇高藝術的趨勢，這些都是政治作品無法完成的。

 

是故，谷氏拒絕跟從大時代的步伐，並堅持以繪畫作為創作主軸。他認為，後現代的反思精神和它原初的動力已逐步變弱，後現代知識顯然已經不足以應對當代社會的複雜問題，反之，「文化工業」的破壞令當代藝術處於混淆不清的狀況。全盤否定後現代的意義和貢獻未必可取，但谷敏昭意識到，繪畫藝術必須在這片浪潮中穩住腳步，藝術家倘若不加思考，全心擁抱後現代主義進行創作，只會墮入權力的圈套，唯有隱忍面對潮流更迭，潛伏專注研究繪畫藝術，經歷時間的洗煉和磨礪，方能再次讓繪畫以新的姿態在藝術史上超升。

 

抽象畫的轉向--形而上的靈性探索

 

對畫家來說，繪畫負載的歷史猶如先輩遺訓，可以是薪火相傳的精神延續，也可以是窒礙創新的沉重包袱，這決取於每位藝術家在繪畫陣地中，是否具有棄絕教條主義的勇氣，和開天闢地的創新精神。藝術創作並不應以媒介劃地為牢，谷敏昭雖專注油畫創作，但媒材和物料並未框限畫家的自由。拒絕固步自封，谷氏超越了具像的束縛，透過抽象畫的創作，開托出一片無邊際的精神聖地。

 

90年代初，藝術家開始捨棄慣用的敍事畫模式創作，進而把自己的思考放逐並流浪到荒野中，牙牙學語般重新學習形而上的語言。從在學時期對社會的控訴昇華至靈性探索；從對東西文化衝突的批判昇華至整體人類於天地存在的詰問，他把玄想的疆域延伸至物料和技法的實驗性探索--粉狀塗層令人回想到古老原始的洞穴畫；托印技法顯露東方民間藝術智慧；水性丙烯和油彩碰撞而成的班駁墨跡流露侘寂禪趣；飄浮的符號、圖案、有機物層層透疊彷彿令觀者置身於物我相忘的江湖中.......多元的視覺風格以及技法的靈活運用，反映谷氏一方面秉承了傳統繪畫對畫面質感的嚴謹追求，一方面以陌生的繪畫素材和技法托展藝術的可能。這印證了藝術不必憑藉政治取態去突破藝術史的成規；藝術家亦不必以一成不變的風格去順應藝術史的運作法則。人總仰賴知識去建構或認知世界，但知識和文明卻帶來成見和教條，反過來支配人類的思想，知識構成的體系和權力牢牢禁錮人對世界的想像，物質、戰爭、科技對解開人的生命之謎始終無能為力，反讓人在俗世中泥足深陷。放棄表達既有識見，藝術家的「創世觀」更接近一種無知狀態，他放棄宗教、政治和歷史帶來的條框，以「無知」去作為，不企圖解釋和定義物象，從美的角度重新理解和感受物象的本質。

 

靈性上的覺悟把藝術家的視野提升至更超脫宏觀的層次，抽象畫的突破將谷氏的藝術成就推向另一個高峰。臥遊於藝術家創造的世界，觀者能感受到一種神秘的巨大精神力量，卻似乎無法明暸其中的意義。谷敏昭曾感嘆，「人類從始至終才真正是宇宙最大的秘密，宇宙裸露真正的軀體，而我們卻取代了宇宙高深莫測的神秘。」，在他眼中，人們愈是企求掌控真理，距離真理反而愈遠。與其用自己的知識去強求理解作品想表達的意義，倒不如嘗試跟隨畫家的思路，承認人類在宇宙中是如此微不足道，以本真的知覺去感受他的美學境界，或許更能讓觀者接近出世脫俗的境地。

 

結語
 

在「全球化」和「多元價值」的大趨勢下，人們以為所有聲音都獲得前所未有的平反，「大同世界」走到新里程碑，「平權」成為世人恪守的真理，當初「高雅／低俗藝術」、「精英／大眾文化」「共識／異見」的界線至此消失，也不再成為爭議焦點。惟環顧現今世界的政治、社會、文化處境，歐美文化只是以一種更微妙、靈巧的方式把持話語權。藝術制度上的權力傾斜令繪畫一度被評為過時而幾近被邊緣化，面對大眾輿論，在外界壓力和干擾下，藝術家谷敏昭的畫作以奧秘哲思和對崇高藝術精神堅實的信仰，挑戰了其時以政治姿態或介入社會作為前提的主流藝術氣候。藝術家傳奇般的藝術生涯見証了90年代起繪畫藝術的起跌，造就了一段平行於後現代時期的個人藝術史。他不接受主流文化的思想殖民，多年來亦拒絕把作品於商業市場過度曝光。藝術家關注的，終究是創作者應把當代繪畫安放在整個藝術歷史譜系的何等位置，當代繪畫還能如何承接藝術文化發展。

 

谷敏昭的作品証實繪畫藝術在經歷多個歷史浪潮的洗禮後，原初的精神始終歷劫不衰，亦因考驗再一次得到蛻變的力量，至今迴盪至藝術長河中。至此，他的畫作或許能帶給創作者和觀賞者一些啟示：也許人類只有不斷對生命的定義提出疑問，方能在茫茫天地中砥礪前行，縱然不能得到答案，但我們終究不能放棄反思，始能了解存在的奧秘。