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HYNEK MARTINEC
海德尼克·馬提尼克

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Born 1980 Broumov, Czech Republic, Hynek Martinec graduated in 2005 from the Academy of Fine Art in Prague. During his studies he spent one term at Middlesex University, London (2002), and another at The Cooper Union, New York (2004). Martinec’s work has been exhibited in both national and international venues including National Portrait Gallery and the Prague Biennale. He is represented in numerous private collections in Europe, including the Department of Prints and Drawings at the British Museum, London and at the National Gallery, Prague. In 2007 he won the BP Young Artist Award. Hynek Martinec lives and works in London.

海德尼克·馬提尼克生於1980年的捷克布勞莫夫,2005年他畢業於布拉格美術學院,大學期間他曾經作為交換生在倫敦的密德薩斯大學及紐約庫珀聯盟求學。馬提尼克的作品在很多國家展出過,其中包括英國國家肖像畫廊以及布拉格雙年展。他的作品曾被大英博物館繪畫部以及布拉格國家畫廊等藝術機構收藏,同時也被歐洲很多私人收藏家所青睞。2007年,他獲得了英國國家畫廊舉辦的年度肖像大獎的青年藝術家獎。現在海德尼克·馬提尼克生活和工作在倫敦。

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THE ZUZANA PROJECT

One artists standing out from the exhibition ‘Beyond reality’ in particular is Hynek Martinec. Born in 1980 in the Czech Republic, Hynek Martinec graduated from the Academy of Fine Art, Prague. After spending some time Paris and New York, he now lives and works in London, long enough to be considered a British artist. Within his body of work he expresses the notion of ‘time’ and ‘space’. Being trained in the traditional means of paintings he works simultaneously on three projects/series so to call that he is continuously developing. One being “At the same time/Lost in Time” consisting of three distinct bodies of work drawn together in one space, the other being ”The Cables”, in which he brings together several unrelated aspects such as hyperrealistic painting techniques, portraits and the intellectual impact of  a place and his Dreams’ Drawings, which he uses to understand and remember his nightly dreams, hence often the process of production.

Represented in the exhibition at the Galerie Rudolfinum are three pictures from his “Zuzana” series. The series started when living in Paris with his girlfriend Zuzana and took the entire stay of one year to come into being. “I was never concerned merely to capture the face of a young woman but to tell a story of two people. Similarly to a writer, keeping diary of ordinary events, I sought to tell a story, which is something I don’t find in most hyper-realistic pictures. Pixel by pixel and square by square, I worked in the manner of Chuck Close,” describes Martinec. In the end, the picture expresses four elements: 1. the model, a portrait of Zuzana, 2. the portray of the workshop space in the Parisan neighbourhood, 3. Hyneks self-portrait in Zuzana’s glasses and 4. a video-installation that was shown as the painting was firstly exhibited at the Czech Cultural Center in Paris.

Like his other project, Zuzana is an ongoing series, witnessing the passages of time and the changes it brings along, turning at the same time into an image of timelessness. As Hynek puts it, “The portrait can say much more than just if the person is young or old, if he has black or blond hair. It has very important and deep information inside*.”

Hynek Martinec’s Zuzana in Paris and Zuzana in London also indicate a marriage of two simultaneous realities, i.e. that of the photography and that of the painting. Zuzana in Paris is wearing glasses, the lenses of which reflect the space where the subject was at the time the photograph was taken, yet behind the painted face there is no such space, only a monochrome background treated in the manner of a painting. Zuzana in London has her glasses pushed up over her brow to reflect a bright beam of light, consistent with a photography session rather than the lighting used in painting. Both images are of great painterly quality, but have not lost sight of the photographic template. On the one hand, there is a typical view en face into the camera; on the other hand, there is an almost psychological portrait painting. The Parisian Zuzana is carefree, inquisitive, whereas the London Zuzana is full of fear and uncertainty – the expression of the eye and face indicate the model’s state of mind. The combination of paintwork of the highest order and photography created a fascinating hyperreality, the enigmatic visual quality of the two portraits. Nevertheless, even more mysterious visuality is offered by Zuzana 1854, a picture painted according to an ambroty using the grisaille painting techniqute. It is as though Zuzana’s face has ascended from the depths of time. It is bordering phantomlike, in part because it lacks all social attribute clothing, hairstyle, and factual detail. Not only Zuzana’s facial expression, but her very appearance contrasts quite star-key with the previous two pictures, not because of the model’s different age, but on account of the different photographic media according to which the picture has been painted.*

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A.Zuzana in London Acrylic on canvas, 130x110cm 2011-12 Courtesy of the artist A.Zuzana in Paris studio Acrylic on canvas, 130x110 cm 2006-07 Courtesy of the artist A.Zuzana 1854 Acrylic on canvas, 244x184cm 2012 Courtesy of the artist

祖珊娜項目

在《現實之外 (Beyond Reality ))的展覽上有一位非常引人注目的藝術家,他就是來自捷克共和國的海尼克•馬提尼克(Hynek Martinec)。1980年出生的海尼克畢業於布拉格美術學院,曾旅居巴黎與紐約,而長駐倫敦至今的馬提尼克可算是一名英國藝術家了。他的作品闡釋了他對“時間”與“空間”的獨特見解。海德尼克受過傳統繪畫技術的訓練,但是他並不拘泥於傳統之中,他一直在尋求變化,譬如他同時進行的三幅創作而成為一個系列。 其中一個系列叫做《與此同時/迷失此時 (At the same time/Lost in Time) 》,當中包括了三幅獨立的繪畫, 但展現的是同一個空間;而另一個系列《鋼索 (The Cables) 》則展現了他把毫無聯繫的方方面面融在一起,譬如超現實繪畫技術,肖像,一個對他有啓發的地方,還有對夢境的繪畫,這些都成為了他創作的一部分。

海德尼克的三張作品在魯道夫畫廊進行了展出,這三張作品來

自他的系列畫作《祖珊娜(Zuzana)》。這個系列的創作始於海德尼克在巴黎與其女友祖珊娜同居的時候,海德尼克花了一年時間才完成這個系列。“我並不只是想捕捉一位年輕女性的面容,而是想道出一個關於兩個人的故事。就如作家一樣,每天記下一些普通的瑣事。我想通過我的作品來講故事,但其實很少超現實畫作能做到這一點。我參考了查克•克洛斯 (Chuck Close) 的繪畫方法,一個像素一個像素地,一個方塊一個方塊地把這些真實畫下來。”馬提尼克說。總括來說,這組作品反映了四個信息,第一是模特祖珊娜的肖像,第二是對巴黎工作室的描繪,第三則是祖珊娜眼鏡裡反射出來海德尼克的自畫像,最後是作品第一次在巴黎捷克文化中心展示時的一個錄像裝置的展出。

和其他系列一樣,《祖珊娜》是一個不斷變化發展的系列,見證著時間的流逝與事物的變遷,把此時此刻化成一幅超越時間的圖像。正如海德尼克所說,“肖像畫不僅呈現出人是老是少,有著一頭黑髮還是金髮,更多重要而深刻的信息全在畫裡。

海德尼克·馬提尼克的《祖珊娜在巴黎 (Zuzana inParis)》和《祖珊娜在倫敦 (Zuzana in London)》闡釋了兩個同時發生的事實之間的緊密聯繫,正好似是攝影與繪畫之間的關係。《祖珊娜在巴黎》中祖珊娜帶著太陽眼鏡,鏡片中反射出攝影師拍攝那一瞬間的真實空間,而在這件繪畫作品中則沒有這樣的空間,僅僅是用繪畫的方式鋪墊了一層單色背景。《祖珊娜在倫敦》中的祖珊娜將太陽鏡推在她額頭之上,鏡片反射出明亮的光束,這樣的光線運用比起繪畫來說更像是攝影中採用的方式。兩幅作品都表現出作者的傑出繪畫才能,而且同時保存了攝影的表現形式。一方面來說,作品中表現的是一張典型的用相機拍攝的臉部照片,而同時它也是一張描繪心理與靈魂的肖像油畫。在巴黎的祖珊娜是無憂無慮充滿好奇的,而在倫敦的祖珊娜是充滿了恐懼和不確定性的,祖珊娜的眼睛和面部表情表達了她不同的心理和精神狀態。這兩幅作品將最精密嚴謹的繪畫技巧與攝影相結合,創造出了一種引人入勝的、極致寫實的、充滿神秘色彩的藝術語言。《祖珊娜1854( Zuzana 1854)》這張用特殊繪畫方式創作的肖像更加充滿了神秘的視覺體驗,它通過祖珊娜的臉來表現了時光的深邃,這件作品中沒有表現服裝、髮型和任何實物細節,使得這幅畫好似來自現實與幻覺的交接點。與前面提到的兩幅畫作相比,《祖珊娜1854》中不僅人物面部表情不同,而且整個面部的外觀也有鮮明的反差,是由於運用了不同的攝影技術和顯影介質,而不是因為祖珊娜的年齡變化。

 

A: How long have you been in London?

H: The very first time I came to London is in 2002, as an exchange student. I went to Middlesex University and stayed for half a year. And then I went back to Prague, and came to London again in 2004 just for two months. That’s when I firstly engaged with one gallery, which I sold my ten paintings to them. And after that I went to Paris for two years. So I came to London around 2007-08, for the first time to stay for long.

A: 你來倫敦多長時間了呢?

H:我第一次來倫敦是在2002年,當時是作為交換生到米德薩斯大學學習了半年。回到布拉格後,2004年是第二次來到倫敦,那次是我第一次和畫廊接觸,我把我十幅畫作賣給了他們。在巴黎留了兩年後,也就是2007到08年吧,我正式開始長駐倫敦。

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A: What makes you stay here?

H: I went to Paris by accident, it wasn’t my plan to be there. Because when I graduated in 2005 in Prague, at the Academy, I got an email from one friend who has a big studio in Paris, mentioning that he would be leaving Paris for half a year, and he gave me an offer that

I can use his studio when he was away. So I had the opportunity to leave Prague and also to discover a new city. At that time I was just planning to stay for a few months. When my friend came back from

India, he continued to use his own space. But before he returned, I got a new space, though much smaller studio, I got my own space and I could work. But at the same time, I was always thinking about London. I mean around 2006-07, I always knew that London was such an expensive place to set up a studio and live at the same time. So you know it’s quite tricky for me, but I always wanted to come here. Living in Paris is amazing, there’s great atmosphere, nice people, good life, and everything. But the problem is, there is no interesting art nowadays, it’s very past, it’s very closed, it’s very difficult to get in the society. It’s true. Because my French is very bad, I didn’t learn the language, anyway. I mean it doesn’t seem very open, but I think maybe staying another 20 or 30 years, they may start to realize that this guy wants to stay here. They will not give you a chance at the beginning. This is what I felt. At the beginning, my journey didn’t get any feedback, and the most important thing is, I felt that my kind of art is going to a different direction in the taste. Because they prefer more abstract paintings, they are quite stuck in the 60s, and I want to do hyper-realistic paintings, I want to do what I am doing now. And I feel that I really suit to this society here where I am in London, and America as well. So I like being in Paris, but it’s very different. The main reason I stay in London is contemporary art world is here, it’s more about your concept, not art form. I think if you go to Europe, to any other country, you will find out London is the most exciting, the biggest, international city, which is very important to me. And there are lots of mixing ideas at the same time. If you go to others like Berlin or Paris, they are a bit stuck by the society, I mean Paris was good a hundred years ago, but I think London now is very open, having so many artists, lots of ideas, and it would not end up in one day. It’s always changing, and the artists always follow that. I do feel that London has something more interesting, more vibrant. You might find out interesting ideas in Paris, people like to talk about art much more than here, but sometimes it’s just talking, not doing it. What I like about London is that you have to take action. If you want to do an exhibition, do some contacts, meetings, whatever, you have to do it. And that’s what I learn about London.

A:什麼吸引你留在倫敦呢?

H:到巴黎其實是機緣巧合的,我本來沒有打算去巴黎。2005年在布拉格美術學院畢業後,巴黎的一個朋友來信說他會離開巴黎半年,而在此段時間我可以用他的工作室,因此我就有了離開布拉格去探索新城市的機會。當時我只是打算逗留幾個月,但在我朋友從印度回來之前我就找到了一個新的工作室,雖然沒有朋友的那個工作室大,但是怎麼說我也算有了自己的工作室,可以隨心所欲地創作。其實那段時間我就一直在想著倫敦,大概是2006、07年吧,我知道要在倫敦生活和創作真的很貴,但我確實時常想著來倫敦發展。在巴黎生活確實很美,環境好,人也好,生活悠然等等都很好,但問題是巴黎現在已經沒有什麼特別有意思的藝術了。大家都沈溺在過去,藝術環境比較封閉,我感覺很難融入社會。可能因為我法語不好吧,我沒有努力去學習法語。對我來說,整個環境不是很開放,或者再待個二、三十年他們才會意識到這個傢伙想長期在巴黎發展。在起步的階段他們不會給你很多機會,當然這是我的個人感覺。所以一開始的時候我沒有得到任何反饋,而更重要的是,我發現我的藝術創作正在向另一個方向發展。在法國,人們比較鍾情抽象繪畫,他們有點被60年代所束縛,但我想向超現實繪畫發展,也就是我現在所作的。我覺得倫敦和美國更適合我一些。我喜歡巴黎,但那種喜歡不太一樣。我留在倫敦的一個主要原因是這邊的當代藝術氛圍濃厚,這裡更注重概念,而不是藝術形式。對比歐洲別的地方,倫敦是最讓人振奮的一個城市,最大的國際都市,我覺得這點非常重要,這裡有很多不同的想法交織和碰撞。在柏林或巴黎,你會感覺當地有點被社會所牽制。一百年前的巴黎很不錯,但現在倫敦更為開放,有更多好的藝術家和想法,而這裡一直都在變化,藝術家也在不斷改變和發展自己的創作。我個人認為倫敦更有趣,更有活力些。巴黎也有很多有趣的事情,人們更愛談論藝術,但是他們更多只是談論而沒有付出行動。但在倫敦就不一樣,你必須付出行動。如果你想辦一場展覽,想建立一些聯繫,想與某些人見面什麼的,你必須切實去做,而不是說說而已。這是我在倫敦學到重要的一點。

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A: Are there any great impact on your art when you first come to London? Since you come from former –communist country to capitalism country. How do you get into this totally different society?

H: It’s very difficult, to be honest. There are things that I still don’t understand in the society or somewhere. Sometimes I hate it but sometimes I really appreciate it. If you come here, there are very strict rules, and I really appreciate it when I came from Paris. I think in Paris there are no very good rules, not clear rules. I always give the example of the underground, the underground is the good example. If you go to metro in Prague, we call it metro, or underground, we don’t have any gate, you can just go through, which means that it’s up to you to buy a ticket. Not all of them do it anyway. But it’s your morality, it’s questioning yourself, if you want to use the metro, buy a ticket, and it will take you in the system somewhere inside. But you can pass it without paying, you can go, if you think ‘I just go one stop, why shall I pay’? So the gate is open. If you go to Paris, there are quite big different gates, but lots of people jump over it. I’m not joking. No one catch them. Amazing! It’s still happening now. Believe me. And people can smoke in the underground, and pee, and everything in Paris, which you can’t do in Prague. Anyway, so the idea is, there are borders, there are some rules, but they can jump, they can ignore it. That’s the irony. They don’t care. I think this was ridiculous. But in London, this is another system. They have two persons, one sitting in the box, and one standing by the gate. In Paris, if one running and jumping in the underground, nothing would happen, because it’s happening everyday. But when you come to London, if you do that, they will kill you. There are very strict rules here. No way to escape.

A:第一次來倫敦後對你的藝術創作有什麼重要影響嗎?你從一個前社會主義國家來到資本主義國家,你是怎麼適應這兩個不同的社會呢?

H:說實話,其實是挺困難的。有些事情我到現在也沒能理解。有時候我很討厭它,但有時候我又很欣賞這樣的社會體制。這裡有著非常嚴格的規則和制度,當我從巴黎來倫敦的時候我就發現了,而且很贊同這樣的做法。我覺得巴黎沒有很好的規則,或者說規則不是很明確。我經常用地鐵來作例子說明這種差異。

如果你在布拉格坐地鐵,你會發現沒有任何閘口或門,所以你買不買票坐地鐵都是靠自覺的。不是所有人都會自覺買票,但這是對你自身道德的考驗,你可以買票坐地鐵,但你也可以不買票直接上車,或許你會想我只是坐一站而已,為什麼要買票呢?所以,門是隨時開著的,買不買票是取決你自己。在巴黎你會發現很多不同的門,但是很多人視若無睹地直接越門而進。我可不是開玩笑,沒有人會阻止他們,真的太神奇了。相信我,現在還是這樣的。人們還可以在地鐵裡抽煙、撒尿,干各種事,這些在布拉格都不允許發生。所以我覺得巴黎有規則,但是人們可以逾越這些規則,他們可以無視這些規則。這是多麼諷刺的事啊!他們根本就不在乎,在我看來這太不可思議了。但是在倫敦,存在著另一種系統規則。每個地鐵站都有兩個工作人員,一個在崗位坐著,一個在閘口旁邊站著。在巴黎,如果有人在地鐵站追逐奔跑就像沒事發生一樣,因為每天都會發生。可是如果這種事情在倫敦發生,他們會把你殺了。這裡有十分嚴格的規則,沒有空子可以鑽。

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A: They have undercover inspector as well.

H: Yes, exactly. In Paris and Prague, you can see them miles away, wearing proper suit, having their names on. Anyway, I would say this is that kind of controlling. So being an artist in this sort of system, at the beginning I really like it. Because I thought I knew what I could get from the society, which you can realize. When you go over red line, you know that you are facing a penalty. But in Paris, you know you are not facing penalty, because I can run away. And in Prague, no one even ask you. You just go. So here in London it’s always strict, it’s very clear. That’s why at the beginning I really like it when I came in

2008. Sometimes it’s too much tight here, but now I’m very happy to discover that some places in London are not very much controlled, which is quite free and open. And also the other thing is quite tricky, in the past they were dictated by regime, and now is by the money.

But you know, you could compare it. Because there’s freedom here, you can do whatever you like. But it’s very expensive, just the strong one can survive.

I think at the same time it’s very good to have those kind of pressure, because you want to produce, you want to be good, you want to paint, you want to show the good works to people, you want to beat it. Because if you are right in the sleeping place in Paris or in Prague, which I’m not criticizing, it is a good place to work, it’s still growing as well. But I need this kind of competition as well. On the other side, if you talking about the selling works and having the gallery and representing, that’s the other thing. London has the best in Europe. So it’s not about just good art, good work, but also how the gallery support, how everything is supported, but you need to be good to get that. I would say that since 2000 I thought London was an interesting place to be. It’s just difficult to get in to make an attention and so on in the right art world. Because the art world here is very massive, so they are like two circles, one was extremely commercial, in a way there are bad paintings, bad art, something like rubbish, and on the other side it’s like Frieze, which is very important, and that’s very difficult to approach.

Many people would criticize that art shouldn’t be involved with money. Some artists are like that, ‘no no, just don’t touch it’. But I quite like the words that Anish Kapoor once mentioned, ‘Good art has always been near money’. And I think that is the answer because if we think about the past, for example the Christianity, which was always being painted a lot, produced good paintings, produced good art, a good fresco, a good chapel, whatever. It costs lots of money because it’s never cheap. I think the problem nowadays is that maybe the money is everywhere, maybe the taste, and politics maybe are ruining it, because they think that they can buy everything, and they are able to spend money on rubbish, and that’s what it is quite bad. I believe that the good artworks will survive, will always stand out from the bad art. But I think it’s up to artist to really decide where to sell the work, and which art fairs to join, and the galleries and so on. It’s very easy to get lost in the art world. There is so much going on, and it’s not just about what you want to do as an artist, but also where you want to meet as an artist, which society you want to be, what is your audience, what gallery is and so on. So I mean it’s very big complex of this, but I don’t think you will get this in Prague. In Paris you will get it but in a small scale, not like here. It is difficult at the same time, but on the other side, it’s a challenge, and opportunities are still here at the moment.

A: 倫敦這裡還有便衣檢票員。

H:對的。在巴黎和布拉格,你老遠就能看到穿著制服、別著胸章的檢票員。倫敦有一種明確的制約。所以作為藝術家,一開始的時候我真的很喜歡這種系統。因為如果你犯規了,你知道你將面臨被懲罰的風險。但是在巴黎,你知道你可以逃過懲罰。在布拉格,根本就沒有人責問你,走就是了。所以說在倫敦,萬事皆有準則,而且是非常嚴格、明瞭的規則。那就是為什麼我一開始很喜歡倫敦的原因。雖然有時候過於死板,但現在我發現有些地方也不是那麼緊張的,倫敦也有很多自由開放的方面。微妙的是,過去的倫敦是受體制支配的,但現在卻受金錢支配了。無論如何,你可以對比這些城市的優劣,倫敦有很大的自由度,你可以做任何你喜歡做的事。雖然成本非常高,只有強者才能留下來。

 

我想有這樣的壓力是好事,因為這樣你就更有動力去創作,你想要變得更好,想要把好的作品呈現給大家。如果你在像巴黎或布拉格這樣慵懶的城市,我沒有批評的意思,在那也能成長。但是我需要這樣的競爭壓力。作品的出售或尋找畫廊代理這些是另一方面,倫敦是全歐洲最好的地方,不僅僅是關於好藝術,好畫,而是畫廊的支持,各方面的幫助,但前提是你得足好才能得到這些。從2000年開始我就覺得倫敦是一個有趣的地方,得逗留的地方。其實很難能找到一個適合的藝術環境和獲得關注。因為藝術圈實在是太大了,基本分為兩個圈子,一個是非常商業化的圈子,那裡有不怎麼好的畫或藝術品,差得像垃圾一樣,另一邊則是像Frieze一樣重要的圈子,但是非常難進入。

 

許多人會批判藝術與金錢掛鉤,有些藝術家就盡量避免和金

錢扯上太多關係,怕藝術被金錢染。但我認為安尼施卡普爾(Anish Kapoor的話很實在:好的藝術品總會與金錢靠得很近。我認為他得很對,回想過去那些藝術史上的驚世作品,打比方關於基督教主題的經常反覆出現,也誕生了很多很好的作品,壁畫啊,教堂啊等等。這些作品都需要大量金錢來支持,但並不因此變得俗氣。我認為當今的問題是,金錢隨處都是,關係或許在於品味,或者政治在一定程度上摧毀藝術,因為人們覺得自己有錢就可以購買任何東西,他們花錢在垃圾上也沒什麼大不了的,我覺得這樣的風氣不是太好。我相信好的藝術品是能傳世的,能從劣質藝術品中穎而出的。但有時候也需要看藝術家如何抉擇,哪裡賣畫,參加哪個藝術博覽會或加入哪個畫廊等等。在藝術圈裡很容易會迷失,因為實在太多事情要考慮了,不但需要想清楚作為藝術家要怎麼做,還需要考慮在哪裡作為藝術家而出現。我覺得這是一個挺複雜的事,在布拉格就不會經歷這樣的考驗。在巴黎可能會有類似的的經歷,但規模都小得多,不像在倫敦。雖然很艱苦,但是同時這也是一個挑戰和機遇。

...

A: Which moment would you consider as a significant one?

H: I think I know what I want to do now. I know where I am now, and

I know where I want to be. So I think this is quite ambitious of what I said, but I feel quite clear now is my work, I don’t feel lost. And that’s very important to me. So I just want to demonstrate this, what I’m just saying, I’m just creating new works, and then realize that I was correct or not, but I have the plans and I think they really fit to somewhere.

A:有哪個瞬間或時刻會讓你覺得非常關鍵?

H:我認為應該是知道自己現在要做什麼的時刻吧,知道現在自己所處的位置,知道自己想要到達哪個層次。也許這麼說起來有點自負,但是我現在覺得自己一點都不迷失。這個我覺得極為關鍵,我需要清楚知道自己的藝術方向要怎麼發展。所以我想說最重要的是我自己清楚知道現在創作新作品,知道自己哪裡做得對或不對,知道在何時使用何種策略。

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A: Why do you like portrait?

H: This is a big question. I think portrait is very important to me, because I like the stories and I think you can see in each face. If you look at the portrait, you can find out the character, you can find out if the sitter is struggling. I mean there is so much information about us. If I look at your arms, I could say you have a lovely arm, but I wouldn’t be able to see how you look, how your eyes look like, how your hair looks like, how you smile. And I like all those details about each person, and I think that’s what makes people so unique from each other. So that’s why I am so into portraits. If the art is able to capture these real things from people, from the face, and turning into painting, I think that’s really amazing.

A:為什麼你對肖像情有獨鍾呢?

H:這是一個很大的問題。肖像畫對我來說很重要,因為我喜歡故事,而在每一張臉上其實都能看到故事。在看肖像畫的時候,你可以感受到人物的性格,知道他是否不安。我認為我們身上藏著很多的信息。當你看一個人的手臂的時候,你會說他的手臂很漂亮,但是我們看不到這個人的長相如何,眼睛長什麼樣,頭髮是怎樣的,笑容是怎樣的等等。我喜歡觀察每個人的細節,我想這些細節決定了每個人的獨特性,所以我喜歡肖像畫。如果藝術可以從人身上,臉上捕捉到這些真實然後把它化為圖像,我覺得特別可貴。

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A5.Madrid Airport Acrylic on canvas, 2x80x80 cm 2007-08 Private Collection “sammlung FIEDE”, Aschaffenburg

             

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