山阿曲壯- 塵三個展
Majestic Echoes in the Valley – Chen San Solo Exhibition
開幕 Opening︱2022.3.12 (Sat) 3:00pm
展期 Exhibition︱2022.3.12~ 04.29
藝術家親自出席開幕茶會
地點 Venue︱穎川畫廊 In River Gallery：台北市中正區仁愛路一段45號2樓
網址Web︱//www.inriver.com.tw/
臉書Facebook︱//www.facebook.com/InRiverGallery
「返景入深林，復照青苔上。」夕陽的餘暉射入幽靜的深林中，帶來一點溫暖與光亮。這希微的光就像宇宙中的小粒子，劃破靜寂無聲的闃黑世界。
塵三 ChenSan / 犄嶺Horn-Like Mountains , 74x111 cm, 水墨、複合媒材Mixed media on paper, 2021
從現象學上來看，人總是藉由概念、科學的、理性的框架去認識事物，若能由主體自身出發去感知，不預設立場將能從所觀之物上，去發現新的視野與角度，用更直觀態度去面對事物，而萬物也將投射其本質於觀者眼中。因此，藝術家的主體性尤為重要，從關注現象事物的真實感受，而發自內心的再現觀看當下的視覺意識，因此技法並不是他的終極目標，如何表達其內心的所感、所知？將精神納入其中，在時間上探索生命的永恆性，在空間上創造無止盡的心靈視野，都將是他畢生的追尋，而藝術的精神性與觀者共感、共鳴也由中而生。
塵三 ChenSan / 蒼寂林#1#2 Desolate Forest #1#2, 100x90 cmx2, 油畫 Oil on canvas, 2021
如法國哲學家加斯東．巴舍拉（Gaston．Bachelard）所言:觀看作品所產生的「迴盪」：像一道穿透的聲波，無處不在的震盪，讓生命本身也受到觸動，直透其存在最刻骨銘心的深處，撼動內心真實的面對自我。觀看塵三的畫，其山變化莫測：時而如薄紗輕攏，時而如蟠龍從天而降，又從隅谷中奮力崛起，既蒼茫神祕，又充滿原始的力量；空谷跫音的幽靜、天外飛來的旋律，從畫面上的色彩、上揚的線條，感受到藝術家對生命的激情與自由的向度。
塵三 ChenSan /湘紅Crimson Red, 水墨、複合媒材 Mixed media on paper, 69x97 cm, 2021
而面對生活的處境，藝術家也非無知無感，如「湘紅」這幅畫作，COVID-19疫情從湖南始，畫面上的赤色如生命因這次疫情遭受的磨難，卻也如烈焰般，燃起生命鬥志的意象；黃色象徵光明與希望，代表困難不一定會擊倒一個人，內心的力量可戰勝外在的困境。
塵三 ChenSan / 凹陷的人格2 Flawed Personality 2, 53x45 cm, 壓克力 Acrylic on canvas , 2021
塵三作畫時不刻意描繪局部的細節，而是寫心中的胸懷，可謂其心中的山水。山體厚實有力，峻峭雄偉，或峰巒疊翠，或飛澗流泉，或暮色中綺霞似錦，或水面澄澈如鏡，波瀾不驚，都是其內心的寫照與思想的化身。如山谷中的回音，越遠越宏亮，進而在心中產生深深的迴盪，擴大到無邊際的存有深度，如此一來，賞畫不只是視覺的饗宴，也是五感同時發生。藝術家企圖使觀者，讓意識的意向性，因觀畫觸動到內心產生喜悅，進而使自身的價值發光發亮，並影響到他人也產生快樂的泉源。
“Where sunlight, entering a grove, Shines back to me from the green moss.” The last rays of the setting sun pierced through the silence of the deep forest, bringing a touch of warmth and light. This soft light, like a tiny particle in the universe, pierced the soundless, dark world.
From a phenomenological perspective, human beings tend to understand things through conceptual, scientific, and rational frameworks. However, if one begins from the subject itself, perceiving without preconceived notions, new perspectives and ways of seeing can emerge from the observed object. By adopting a more intuitive attitude toward things, all phenomena may reveal their essence from the viewer’s perspective. Therefore, the artist’s subjectivity becomes especially important. By attending to the authentic experience of phenomena and expressing the visual consciousness of the present moment from within, technique is no longer the ultimate goal. Instead, the central question becomes: how can one convey what is felt and known internally? By incorporating the spiritual dimension, the artist seeks to explore the eternity of life in time and to create boundless inner visions in space. This lifelong pursuit gives rise to the spirituality of art, as well as the resonance and shared emotional experience between the artwork and its viewer.
As the French philosopher Gaston Bachelard said, when we look at a work of art, it creates a kind of “resonance” like a penetrating sound wave that vibrates everywhere. It touches life itself, reaching into the deepest and most unforgettable parts of our existence, and shakes us into a more honest confrontation with ourselves. When looking at Chen San’s paintings, the mountains are constantly shifting and unpredictable. Sometimes they seem like a thin veil gently draped over the landscape; other times they look like a coiling dragon descending from the sky, or rising powerfully from a hidden valley. They feel both vast and mysterious, yet full of vital energy. There is a quietness in them, like footsteps echoing in an empty valley, or a melody coming from beyond the world. Through the colours on the canvas and the upward-moving lines, we can sense the artist’s passion for life and his sense of freedom.
Faced with life’s circumstances, Chen San is not unaware or indifferent toward society. For example, in the painting “湘紅 Crimson Red,” the COVID-19 pandemic began in Hunan. The red tones in the painting can be seen as symbolising the suffering and trials that life has endured because of this outbreak. Yet, it also resembles blazing flames, igniting the fighting spirit of life. Yellow represents light and hope, suggesting that difficulties do not necessarily defeat a person. Instead, inner strength can overcome external challenges.
When Chen San paints, he does not deliberately depict fine details of individual parts; instead, he paints what’s in his heart, his own inner landscape of mountains and waters. Chen San’s mountains feel solid and powerful, majestic and steep. Sometimes they are layered with lush peaks; sometimes waterfalls are rushing down from cliffs; sometimes the evening sky is filled with glowing, brocade-like clouds; sometimes the water surface is so still and clear it’s like a mirror, with no ripples at all. All of this becomes a reflection of his inner world and a kind ofembodiment of his thoughts. Like echoes in a mountain valley, growing louder the farther they travel, they create deep reverberations in the heart, expanding into a boundless depth of being. In this sense, viewing the painting is not only a visual experience, but it also engages all the senses. The artist aims to activate the viewer’s intentional consciousness through the act of seeing, stirring an inner sense of joy. In doing so, it allows one’s own value to shine more clearly, and that sense of joy can even spread outward, becoming a source of happiness for others as well.