美成在久・癒合之流──尹保倫個展 A River of Divine Imperfections – Ernest Van solo exhibition

在科學推倒信仰以來，理性成了膜拜的對象，人的心靈被壓縮。有一則寓言，心臟原本是位於人胸口中心的位置，可是由於人類已經很久沒有去聽內心的說話，所以慢慢的，心臟就走到一旁去了。圍繞科技與物質的進步，更短的距離，更高的產能，但伴隨著這種進步，人類卻未有更容易感到快樂，更少迷惘。

不管是古代的宗教或是新時代的靈性療法，哪些名字，哪種修練，都源於人類希望達至「內在平安」的同一渴望。生活在越發喧囂的社會中，我們皆循各種途徑去尋求「平安」。本次牛房倉庫邀請到畢業於國立台灣藝術大學圖文傳播藝術學系的本澳藝術家尹保倫舉辦個展，藝術家視創作為一種自我內在探索的過程，其作品以心靈療癒為主要的創作方向。在是次的展覽中，藝術家將透過於作品中融入不同時代的靈性符號與方法，去建構心靈療癒場域，讓觀眾進入「狀態」，嘗試激發藝術其中一種較為「古老」的功能──「治療人心」。

他近乎意識流般的圖像，提取自各種自身遊歷、新時代療法與文化記憶。「每片板塊代表一個瞬間，瞬間組成人生，人生即修行」。數月來，日復日的磨礪，他不斷往樸實的木板上糊上宣紙，待風乾，層層紙膜貼上片片金箔，

而那金光並不是閃耀眩目的，而是依賴着朦朧沉靜的淡光。他節奏緩慢，工序反覆，畫板上交疊處處呈現着他粗糙雙手的皮膚觸感。他認為金色表現對神祇崇高的敬仰，那亦是人們看到暖光時本能地感受到的喜悅。

若觀眾對他謎語般的畫面摸不清狀況，他不太在乎：尹保倫的繪畫，和他本人一樣，有時髒髒的，筆觸粗括，神經兮兮──金色格子注入荷歐波諾波諾咒文加上挪威森林草莓蛋糕與描佛圖騰……斑駁的金屬感與童趣的字體與畫風交錯，和他本人一樣，不修邊幅，卻又好像合情合理。因為真誠比一切重要，他隨心的畫具備忠順之質，所謂「美成在久」，他消化了一摞生活、時間和經歷後吐出閃耀着療癒𥻘光的河流，光流潔淨了他髒亂的心靈；或許他想挽回自己那經已偏則的心臟，或許他不想憋死在這磨人的生活，所以他殫精竭慮，築起了自我挽救心靈之途，也讓想要除淨的人一起跟着沉靜。

As science topples religion, reason has become the principle to worship and our spirituality has been squashed. A fable tells how the human heart was at first located in the middle of the chest, but after years of being disregarded, it had gradually moved to the side. With scientific and material advances, we have reduced distances and multiplied productivity, yet none of this has brought about happiness or clarity for humankind.

Either of ancient religions or new age spiritual healing, no matter the name or practice it takes, all comes from the human desire to obtain ‘inner peace’. This time Ox warehouse has invited Ernest Van who graduated from the Department of Graphic Communication Arts of the National Taiwan University of Arts to exhibit at the Post - Ox Warehouse Experimental Site. Ernest regards of his creation as an inner exploration of the self, producing works with the theme of ‘healing of the heart’. In this exhibition, his work isn’t trying to convey any rational ‘idea’ or invoke ‘introspection’. Rather, through infusing spiritual symbols and methods into this work, he hopes to lead his visitors into a spiritual sanctuary, where they can enter the ‘state’ and try to elicit one of the more ‘archaic’ functions of art – ‘healing of the heart’.

His imagery flows from a stream of consciousness: integrated here are the memories of his travels, his discovery of new energy therapies and cultural mores. To Van, “each block denotes of a moment in time, these moments compose of life, a life towards spiritual realization”. Month by month, he would prime his humble panels with such tender care, each single step at full throttle, the surfaces take hours to dry, then the thin layers of gold leaves are burnished with his brushes and fingers; but the flecks of gold are not splendor, for the layered tones illuminate in a state of serenity. His pace is slow and his process repetitive; the touch of his rough hands are evident on each of the gilded frames. As Van considers, the color of gold declares of holy idolatry, or else, human beings are drawn to the warmth of light by nature.

If the audience would be tempted to decode his puzzling images, it is not Van’s intention to define this ambiguity: after all, he is what he makes, his drawings are raw and unrefined, his wild strokes are never adulated – the golden blocks are filled with ancient mantras of Ho'oponopono, the strawberry shortcakes from Murakami’s Norwegian Wood and stylized drawings of Buddhism deities…Where childish writings dance freely on the color of mottled gold; he is what he makes, yet he has a way to make sense out of all these chaos. For he is honest, and his work bares his soul: it exerts all of one's dedication to achieve divine perfection. All his memories and experiences are ejected into a glimmering river of salvation, a glow that is healing his sinful soul. It might be that, his averted heart needs the right place to perch on; or it might be, that he needs to unlash the Albatross around his neck, so he’d put forth all of his strength and diligence, to pave his road to spiritual redemption, creating in a quiet place that is solemn and meditative for us all to take refuge.

展覽地點 Exhibition Venue：後牛房實驗場（澳門和隆街十五號）Post - Ox Warehouse

Experimental Site (Rua do Volong, No.15, Macau)

開幕 Opening ceremony：08/05/2019 (星期三 Wednesday)，18:30

展期 Exhibition period：09/05/2019 - 16/06/2019 (逢星期一休息 Closed on Mondays)

開放時間 Opening Hours：12:00 - 19:00

策展人Curator：許曉楓Ann Hoi

主辦 Organisation：牛房倉庫Ox Warehouse

贊助 Sponsor：文化局IC 澳門基金會Fundação Macau

查詢 For enquiry : 28530026 (12:00 - 19:00,逢星期一休息Closed on Mondays)

電郵 E-mail：oxwarehouse@gmail.com

網址Website: http://www.oxwarehouse.blogspot.com