In Search of Absence 《身之所往》

​Lulu NGIE
JEONG Yun Kyung
Hilarie HON

In Search of Absence
18 Aug – 18 Sep, 2021
Korea Cultural Center in Hong Kong
6-7/F Block B, PMQ, 35 Aberdeen Street, Central, Hong Kong
 
The Korean Cultural Center in Hong Kong and Gallery EXIT jointly present “In Search of Absence”, a group exhibition features recent works of Korean artist JEONG Yun Kyung and Hong Kong artists Lulu NGIE and Hilarie HON. The diverse bodies of works establish a connection with the viewers through colors and lines, while gazing at the artists’ internal state of mind.
 
The works of JEONG Yun Kyung combine traditional ink painting techniques with abstract expressionism. Distinctive qualities of multiple forms and lines coexist in the same panels. The meticulously fine details of repeated motifs form unique “inkscapes” with a sense of tranquil airiness. Meanwhile, she uses bold vivid lines and collage layers to disrupt the still orderliness. Jeong constructs in her works a staggering visual tension with complexity and harmony.
 
Lulu NGIE paints with a state of mind and fundamentals of Eastern ink painting traditions. Her recent oil paintings continue to display her profound understanding of ink as artistic medium, utilizing a variety of brush strokes. She depicts compositions and human figures with conciseness and simplicity. Ngie presents the delicate relationship and balance between the body and mind through her abstract figures, from gazing at oneself to reaching inner contentment. She has an incisive perception of internal struggles within individuals and between groups. The painted figures appear in two or in groups dancing, leaning or facing away from each other, are all interconnected.
 
Hilarie HON is known for her outlandish worlds with vivid tones. She explores in her recent works the concept of “seeing” and “be seen” in paintings. The canvas frame is an essential medium to showcase a painting, yet it separates the painted world from the exhibition space. Hon’s “figure with a hat” has not been given a specific identity. The figure appears alone on the edge of multiple paintings, either sitting, standing or resting. Similar to the state of a canvas frame, the figure is part of the painting but at the same time is separated from the painted world.
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倪鷺露
鄭潤慶
韓幸霖
 
 《身之所往》
2021年8月18日至9月18日
香港中環鴨巴甸街35號PMQ 元創方 B座Hollywood 6-7樓

駐香港韓國文化院和安全口畫廊聯合呈獻《身之所往》，展出韓國藝術家鄭潤慶、香港藝術家倪鷺露和韓幸霖的近作。三位藝術家的作品透過顏色及線條建立與觀者的聯繫，同時凝視自身的狀態和矛盾。
 
鄭潤慶的作品揉合傳統水墨和抽象主義表現手法。兩種不同風格的線條層疊交錯使畫面充滿視覺張力和驚喜。留白的畫面佈局中，藝術家以細緻緊密的筆觸勾畫出黑白有序的圖形點線，猶如一幅幅充滿詩意的大自然景觀。幽靜的氣氛被大膽奔放的色線和拼貼劃破，兩者重疊並存，同時壁壘分明。藝術家以複雜多變的圖像建構獨有的視覺節奏，並在多元的氛圍中取得平衡。
 
倪鷺露的畫作以水墨意景和自身狀態為基調。這次展出的油畫近作結合其對水墨創作的深刻領會，人物形態簡潔圓渾，筆觸舉重若輕，構圖以形會意。藝術家透過抽象的人物形態呈現身心之間的微妙關係和平衡，從凝視自身的過程中達致圓滿。藝術家對個人與群體間的互動和角力有著精闢透澈的刻劃。作品中的兩人或群體時而翩翩共舞，時而互相扶持，時而背向疏離，皆彼此相連。
 
韓幸霖的作品一向以濃烈的色彩和詭異的意象見稱。她的近作探討繪畫中「觀看」和「被看」的關係。畫框是繪畫世界中的必要載體，但同時把畫作本身與展示空間分隔。韓幸霖畫中「戴著帽子的人」沒有特定身分或角色，不論伏臥或坐立，均獨自出現於多幅作品中前方的邊陲位置。人物就如畫框一樣，既是畫的一部分，但又同時抽離於畫中的世界。