Fields behind Landscape 山水背田野

Fields behind Landscape, 2010

Lui’s painting with framed acrylic, paper cast vessels, plants, soil, wooden pedestal and two TV sets

366(L) x 108(W) x 180(H) cm

1^st video: http://www.youtube.com/watch?v=qGVEsSPU2zs

2^nd video: http://www.youtube.com/watch?v=QfAXq1gJRpg 

Lui Chun Kwong’s landscape painting first published in 1993. From then until now, it became a huge painting project near 20 years. Therefore, his naming towards his studio Yi Liu Painting Factory was undoubtedly an accurate description.

In the general classification of art, Lui’s painting can be included in Minimalism. Different from the others, his paintings are even more minimal and purer. Use of color is narrowed to focus on how it flows downwards and leaves messages. It is not only about simplified images or forms but also record of repetitive movement. As he has said, standing on a point, plowing fields, his paintings describe the beginning and outcome of the cycle of all things in the universe.

I try to look for lands for plowing and planting behind a Lui’s landscape painting. Using paper to cast pot-shaped like containers as pieces of fields at the back of the painting, I can create an endless field. Through planting on them, the concealed metaphor is revealed.

呂振光的一流山水自1993年發表，至此已是近20個年頭的龐大繪畫計劃。以一流畫廠命名其火炭工作室，無疑是一個名符其實的描述。

在大體的流派歸類上，呂氏的繪畫可列入極限主義內。有別於他者是，其繪畫比起他人都還要純粹。色彩收窄至如何在畫布上順應著流動留下訊息，非單純的形象簡化，更是一種周而復始的運動紀錄。正如他所言，立一點，亦像在田野上開墾耕作，都是關於宇宙中一切循環的開端及結果。

我在他的山水繪畫背後尋找可耕可種之地，以紙倒模木框後方形成盆狀容器，透過重複倒製可構成無盡的一畝田野。在之上栽種，將原來隱喻的故事重新鋪陳出來。