【寓創作於娛樂 - 余偉聯個展】

【Creations and Recreations – A SOLO EXHIBITION BY FRANCIS YU】

【展覽資訊 Information】

展覽日期 Date：2021.12.4 - 2021.12.31

開放時間 Time：11:00am-1:00pm, 2:00pm-6:00pm

展覽地址 Location：光影作坊｜九龍石硤尾白田街30號賽馬會創意藝術中心L2-02

逢星期一閉館 Closed on Mondays

【展覽開幕 Opening Reception】

日期 Date：2021.12.4

時間 Time：16:00

登記參與開幕酒會Registration for Opening Reception：

https://www.eventbrite.hk/e/218678943607

藝術家余偉聯將於今年十二月，於光影作坊舉辦個展「寓創作於娛樂」，結合攝影和繪畫，呈現藝術家的創作世界。

攝影術於1839年出現，衝擊當時的繪畫世界；但亦促成不少關於攝影和繪畫本質的討論和反思，兩個媒介互相啟發，令兩者的創作變化更多元、更豐富。

光影作坊秉承對當代攝影的開放，開展首個藝術家駐場計劃，余偉聯是首位獲邀藝術家參與計劃，並舉辦是次名為「寓創作於娛樂」的個人展覽。駐場期間，余偉聯在光影作坊探討傳統影像成像的過程和特性，讓創作意念在相紙上遊走。

今次展覽中，專注繪畫創作的余偉聯從畫室走進酒店房間，與「創作」來一場 staycation；又將黑房搬到藝廊，製作他的大型作品。這都與余偉聯「總體繪畫」的思維一脈相承：關注畫布上的圖像與空間的關係，並嘗試將不同媒介結合和融入繪畫。

繪畫和攝影有各自的歷史和特點，兩者間的發展卻密不可分。余偉聯與策展人謝明莊更就是次展覽，深入討論了有關與攝影和藝術相關的議題。謝明莊形容這個展覽是余偉聯多個月以來在光影作坊駐場的結晶，「在攝影的平台上展現『總體繪畫』的成果。」

Lumenvisum presents, “Creations and Recreations”, a solo exhibition by Francis YU, illustrating the world of creations combining photography and painting.

When the technique of photography was discovered in 1839, it brought a great impact to the traditional painting world, and raised a lot of discussions about the nature of photography and painting. Photography and painting inspires each other, what have made creations in these two mediums more diverse and deeper.

Lumenvisum has retained the open attitude of contemporary photography, inviting Francis YU to join the first artist-in-residence programme, organizing the solo exhibition “Creations and Recreations”. During residency, Francis YU explores the process and features of imaging, and lets his ideas wandering on photography papers.

From painting studio to hotel rooms, from dark room to gallery, Francis YU follows his concept in “Total Painting”. He concerns the relationship between spaces and images on canvas, and attempts to incorporate different media into painting.

Painting and photography have their own features and history, while they have a very close relationship during their developments. Francis YU and curator TSE Ming Chong had in-depth discussions on the matters about photography and art. TSE Ming Chong describes this exhibition will be the on-site gemstone to debut at Lumenvisum, and “it is on the mission of manifesting the fruit of labor of ‘Total Painting’ on the platform of photography.

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文：策展人 謝明莊

攝影於1839年出現，為繪畫帶來直接衝擊；引發當時一些滿足於重現現實的畫家放棄繪畫而轉投攝影，同時也釋放了追求變革的畫家們開展嶄新的創作方向。攝影與繪畫的對話從此沒有間斷，討論課題也隨著時代推進而深入和激烈起來。

時移世易，數碼科技的創新發展，特別是在影像的應用，對傳統攝影以「光」來記錄「現實」賦予新的詮釋；數碼的成像技術不再是物質模擬，它將傳統攝影成像過程處理物料的部份減去，瞬間將影像高度壓縮呈現出來，再一次將攝影從記實的魔咒中釋放出來。攝影的本質是科技與藝術的結合，雖然「記實」仍是它獨有的性格，但它緊隨科技的發展，在多元文化的景況中以不同的形態現身，脫去「記實」的枷鎖，搖身變成婀娜多姿的「MIRROR 鏡子」 反映現今世代的真像，備受羣眾追捧。

相對於攝影，繪畫的歷史要長遠深厚得多，因而繪畫是一直以來回應人類文明進程的媒介，從遠古的洞穴畫作我們可以想像先祖們的生活形態、風景與人物畫，展現了人類對創造者的讚譽和畫家們的情感投射、宗教畫見證了西方信仰的精神面貌，及至現代主義繪畫與當代繪畫的出現，繪畫不再停留在平面而且囊括其他物料和媒介，更貼近寫照我們所身處多變的社會。

「光影作坊」秉承對當代攝影的開放，邀請了余偉聯參與首個藝術家駐場計劃。這是他繼2012年「光影作坊」舉辦個展「寫真寫意要結婚」後攝影與繪畫的又一次深情對話。余偉聯一直倡議的「總體繪畫」，嘗試將不同創作媒介融入繪畫，探討物料的應用，日常生活的體驗，以及影像成像的過程與特性。這次個展名為「寓創作於娛樂」，是多個月來「光影作坊」的駐場結晶，於攝影的平台上展現「總體繪畫」的成果。

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Written by Curator TSE Ming Chong

Photography first came into existence in 1893, which brought about a head-on collision with painting. It prompted the painters who found satisfaction in emulating reality to abandon painting and switch allegiance to photography. At the same time, it unleashed a group of painters seeking innovation to march towards a brand-new creative direction. From then on, the conversation between photography and painting has never come to a halt and discussion topics have become in-depth and radical as time progresses.

As time continues to shift, the innovative development of digital technology has granted a new interpretation as to how traditional photography uses “light” to capture “reality”, particularly when it comes to the application of images. Digital imaging is no longer a mere technique to mimic matters. It spares the handling of materials which used to be a part of the process of imaging in traditional photography. The images are instantly materialized through high degree of compression and photography is once again extricated from its spell of documenting reality. The quintessence of photography is meant to produce a love child of technology and art. Although documenting reality is still a unique trait that belongs to photography, with the advancement of technology, photography has manifested itself in an array of forms in a multicultural environment that frees itself from the shackles of documenting reality. It transformed into a “MIRROR” with a graceful and feminie physique, reflecting the authenticity of the contemporary era. This technique is sought-after by the audience.

Compared with photography, the history of painting runs far deeper so it has always been the medium that echoes with the process of humans attaining civilisation. From cave paintings dating back to ancient times, we can picture the ways of living, scenery and human portraits of our ancestors, exposing the admiration that humans harbour towards their creator and the emotional projection put forth by painters. The fact that religious paintings serve as the witness of the spiritual façade of western beliefs, coupled with the emergence of modernist and contemporary paintings, painting is no longer confined to its traditional role and limited by its two dimensionality but attempting for different approaches and incorporating other materials and mediums to portray the ever-changing society we are all in.

Lumenvisum has retained the open attitude of contemporary photography by inviting Francis Yu to join our first artist-in-residence programme. This will be another conversation between photography and painting by Yu after his solo exhibition of The Marriage of 2P in 2012. The conception of “Total Painting” advocated by Yu is an attempt to incorporate different creative media into painting so as to explore the application of materials, the experience of day-to-day life and the process and features of imaging. The exhibition, named Creations and Recreations, will be the on-site gemstone to debut at Lumenvisum in months and it is on the mission of manifesting the fruit of labor of “Total Painting” on the platform of photography.