中文-简体 中文-繁体 English 登录

Interview of Park(1)

2017/03/01 14:47  来源:华艺国际   阅读数:1754

Atron. net X Darragh Hogan -2017

Atron: Why the exhibition is named "PARK" (multiple meaning)? What is behind of the theme ?

Darragh Hogan: In this situation, the title Park was considered for its role as a noun and a verb. Firstly, the idea of a Park as a place for escape in the urbansetting is important. It is a shared space. It is a space without duty and obligation, a place we we can retreat to if only for a while to experience nature. Perhaps galleries should function like parks where we retreat to experience and consider art. In this instance Hollys Gallery is already in avery beautiful and tranquil park in the centre of Guangzhou, Chinas third most populated city.

The second reading of the title is quite simply to park. To stop the car, to take time, to be present. In, his 1996 poem entitled Postscript the Irish Nobel Laureate, Seamus Heaney describes parking a car to make the time to experience nature. He writes:

Useless to think you'll park or capture it

More thoroughly. You are neither here nor there,

A hurry through which known and strange things pass

As big soft buffetings come at the car sideways

And catch the heart off guard and blow it open

Perhaps it is possible if we take the time, any time with art, that we too could be caught off guard and maybe our hearts could be blown open.

Atron: It is a group exhibition of 8 artists, what is the standard in the selection of the artists?

Darragh Hogan: There are no particular common concerns between each of these artists though there are many connections and each shares a rigorous and thought-full approach to making art. Each has a very distinct voice using very different language. It is an unlikely gathering, brought together or parked for a period of time in the one room to see what associations might occur.

Atron: It is an exhibition covers three generations of abstract artists, what kind of show you want to present to the audiences ?

Darragh Hogan: I don’t really see any of these artists as abstract artists. Each approaches the very real, physical and psychological experience of being in the world.This being in the world is considered and articulated through a range of strategies and materials as you will experience when you view the range of work in the show.

Atron: Can you stress the characteristics of the 8 artists in the show ?

Darragh Hogan: Each of the eight artists approach the production of art form very different but equally thoughtful positions. Each artist has a complex and rich body of work. It would be difficult and perhaps foolish to speak of particular characteristics that define each as that might deny the many different reading seach work and each artist offers. However, it is possible to list some distinctions but these should be considered as merely starting points

Sean Scully’s rich, dense oil paintings approach the complexity of emotional and physical contradictions through an extremely reduced or economical use of pictorial language. The seemingly simple gesture of the stripe is tested to its limits to express the range of emotional response to the world. They shout silently and attest to a continuous struggle to break free of an imposed structure or live to the fullest within one.

Sean Scully

Doric Blue-Blue 2016

Oil on linen

71.1cm x 81.3cm

In contrast, Zhou Li’s paintings invite you to fall sometimes gently, sometimes abruptly in and out of structure as our eyes move between, around and through the light and shadows in her many interconnected surfaces. There is a robust strength in Zhou Li’s description of what is vague,out of focus, out of reach or untouchable. Zhou Li’s paintings seem to have their own breath or perhaps they draw attention to ours.

Zhou Li

LinesPink No.1 2016

Mixed media on canvas

160cm x 130cm

Light and shadow also take centre stage in Liliane Tomasko’s work however the very real physical and intimate subject of the artists domestic world is often the starting point for the drawing and line that dominate her paintings. Tomasko looks back, with care, to what we normally walk away from, the bed linen, our folded cloths or corners of rooms drawing our attention to the complex imprint our bodies leave on the world.

Liliane Tomasko

Sensible Reds 2015

oil on linen

193cm x177.8cm

Liam Gillick also considers the world we don’t see or have become accustomed to. His large-scale site specific structures,architectural interventions and objects employ the vocabulary of late modernism.The materials of the contemporary city, industrially produced aluminum, steel and Plexi-glass come together in structures that seem systematic. As such they appear to have a role or function but if they do they are separated or liberated from it. His work across many media approaches with wit and alightness of touch the dual legacies of both minimalism and conceptualism.

Liam Gillick

Negotiated Collapse 2010

Powder coated aluminium, transparent Plexiglasswall mounted screen structure

Liu Ke’s work also looks to the city or perhaps more correctly it invites us to do the looking. Liu Ke’s refined building up of paint with various, different textures and differing tones speak to the rhythms of congested urban development and our place in the crowd. As in life, the systems in his work seem at times to connect and offer a readable legend, a map of sorts and at times the connection or route is denied. As though fully aware of the arresting effect of his work Liu Ke’s sculpture is generous enough to double up as a bench, some-where to sit, calm down and figure it all out.

Liu Ke

A letter arrives at its destination 2016-17

Oil, acrylic and watercolour on canvas

180cm x 165cm

Isabel Nolan creates a wide-ranging body of work with wool rugs, wall hangings,paintings, stained glass, coiled steel structures and objects both figurative and abstract in a continuous search for answers to universal questions about life. Although the work takes many different forms we are returned time and time again to consider our condition and how we construct meaning from the world. Central to the work selected for Park is Nolans interest in the Sun and our relationship to and dependence to this one guiding star.

Isabel Nolan

An ecstatic surrender 2015

cotton and powder coated mild steel flag pole

360cm x 212cm

It can be said that this search for meaning or to understand how we construct meaning continues in the varied and introspective work of Merlin James. Like Nolan,Merlin James moves effortlessly between abstract and figurative subject matter.The role of every physical element of the painting is put to the test. Along with paint and its subject matter the artist also incorporates physical elements of the painting structure. The canvas (torn, burnt, stitched, opaque or transparent) the frame, and the stretcher all play in a body of work that can take years to find completion as James returns to each to consider them time and time again.

Merlin James

Untitled for TJ 2000/09

acrylic on canvas

51cm x 41cm

Finally, Callum Innes’ delicate paintings strike a balance here between the desire to build meaning and take it away. His work simultaneously articulates volume and absence, our presence and our disappearance. Like the light and shadows of Zhou Li’s work we are brought in and out of the work. Through a singular process of repeatedly layering intense colour and then dissolving it Innes takes us to the anxious edge of painting. The point where we experience form and the void the moment where all is at stake and all is washed away.

Callum Innes

Exposed Painting Scarlet Lake 2014

oil on linen

180cm x 175cm

Atron: We can see that it is a show contains artists fromthe west and from China, the works are made of various mediums, paintings, installations, sculptures, do you have special consideration of the presence?

Darragh Hogan: This exhibition was born out of many discussions between Yefu Wang at Holly’s Gallery and the team at Kerlin Gallery. Our desire was to bring together work that differs conceptually and physically. Our interest is in the new questions this might raise.

Atron: What are the similarities and differences between the abstraction works of the western artists and Chinese artists in your opinion? Do you think these aspects are related to their cultural traditions and backgrounds?

Darragh Hogan:Artists like anyone; factory workers, postmen, builders or teachers are always shaped by the conditions of their own cultural traditions, backgrounds and the conditions of where they may be at any given moment. Like everyone in the world each of us is both similar and different. This show does not pretend to list those similarities and differences but like any group show it does gather together very different approaches as an experiment of sorts.

Atron: this exhibition will be held in Guangzhou and Hongkong. Guangzhou is a city of a strong southern cultural heritage, andHongkong is a metropolitan which is a fusion of the west and the east, in this case they make me to consider the shows are the collision of the abstract art and the local culture, and what do you expect in the shows, some sparks afterthe cultural collisions?

Darragh Hogan:The show could be considered a collision or collaboration of many different descriptions. In terms of the work the show brings together sculptureand painting both abstract and figurative. With regard to the artists, they live and work in a range of places, China, Europe and the USA. But the reality of today is that travel and the internet has made the world a smaller and shared space. The question of cultural collision may no longer be as important or as interesting as listening to a chorus of voices.

Photo of Darragh Hogan (Director of Kerlin gallery, Dublin) and Wang Yefu (Holly'sGallery, Guangzhou)


Photo ofDarragh Hogan (Director of Kerlin Gallery Dublin), Zhang Xiangdong (Holly'sGallery, Guangzhou) and Wang Yefu (Holly's Gallery, Guangzhou)