水墨‧花‧摄影——张思瑾个人展

藝術家創作宣言

水墨‧花‧攝影

張思瑾

這系列的作品是我一直渴望創作的，它融合了我對三種藝術形式和媒介的認知及熱愛。其中的攝影藝術更是我近十年來所專注鑽研的。在這之前，我全情投入於日本草月流插花藝術的世界中，及追隨前國畫大師趙少昂學習寫花、寫鳥。

當我環顧周遭，用心聆聽內心世界時，我對大自然的濃烈感情悠然而生，在雲層裏、山幽中，那一草一木、盛開的花、片片花瓣……都牽動著我的情感與信念。

因此，當我提起照相機時，便不期然把焦點放在這些動人的景物上，作品中當然還滲透著我在中、西文化藝術葷陶浸淫下的個人視野。

在這個系列的作品中，我嘗試探討嶄新的創作領域，以兩種截然不同的藝術媒體 (攝影及水墨畫) 劃破時空，百年交錯，卻又能達致和諧均衡的美。

作品背景的水墨筆法是在刹那間釋放出來的內儲力量，是衝動的、直接的，我手執毛筆落在畫紙上的那一刻，直覺地全身精力便從筆尖流瀉到紙上。畫紙如海綿般的吸收力又常常持續了畫面的變化，帶來無法預知的驚喜。

但與此相比，以4 x 5大相機拍攝嬌美的花卉，雖然是一按即錄，但事前卻需要計算精確，由燈光、分色、聚焦選擇，以至拍攝角度及構圖，都要分毫不差，技巧熟練。

這系列作品最大的挑戰是如何讓兩種創作媒體水乳相融。我要深入思巧如何利用空間及將花朵併入整體的結構中。無論是構圖設計、顏色及明暗色調都要在兩種媒體共生中取得精細的平衡。我最終是希望攝影及水墨畫的併合能超越個別媒體的潛在限制，為觀眾增添新穎、壯觀、永恆及優雅的感覺。

東方水墨畫是中國的文化遺產，它與現代化的技術同時在一幅作品上呈現時，那全新的體驗及美感，誠然是別具一格且創意無限的視覺新里程。

在我完成這系列作品時，再次細看下我更體會到每一件作品都是凝聚著紙、墨、影像，三種元素不斷演變的歷史階段，我希望能藉著這系列作品再次打開其他創意之門，使藝術旅程攀上新峰及更趨完美。

這些作品都真誠地累積了我對水墨、攝影、及花藝的熱愛與認識，也反映了我在東、西社會及文化裏多元的經歷及聯繫。

Ink Brush Painting FLOWERS Photography

Artist Statement

Catherine S. J. Zhang

This is a series of work which I have been longing to create ever since I resumed my photography pursuit ten years ago. Prior to that time, I was very much drawn to the Ikebana flower installation of Sogetsu School, and my study of Chinese brushes paintings of flowers and birds under the late great master Zhao Shao-ang.

Whenever I look around and listen to my inner self, my strongest interest and conviction always lie in nature - in the clouds and mountains, in the trees and branches, in the leaves, flowers, and petals.

So when I resumed photography, it was only natural that I wanted to focus mainly on such subjects, and infused my photography with my personal vision combining the influence of both western and oriental arts and tradition.

In this series of work, I want to explore an exciting territory of new possibility, to strike a harmonious balance in beauty while utilizing two very different media (photography and ink brush painting) that cross over the passage of time for centuries.

The ink brush strokes in the background represent the channeling of my inner energy and impulse to create these spontaneous brush movements. With ink and brush in hand, I let my energy and intuition lead the way and record the outflow onto the rice paper. The absorbing and spongy nature of the rice paper often adds further textural dimensions and many unpredictable pleasant surprises.

On the other hand, the rendering of flower images requires great precision and technical skills especially while working with a 4x5 format camera. Decisions ranging from lighting, color saturation and focus choice, to perspective angles and composition. All elements have to be in place perfectly before instantaneously recorded with a click through the camera lens.

The challenge of this series lies in the fluid blending of the two media, which involves a strategic use of space and the incorporation of flowers within the larger construct. I sought to achieve a delicate balance between graphical composition, colors/shades and the symbiotic interaction between the two media. Ultimately, I hope that such combination of photography and brush painting transcends each medium’s individual limits and imparts upon the audience a feeling of grandness, timelessness, and elegance.

When I look at the finished large prints of this series, a total of 25 images, I believe that each print is a glimpse into the ever evolving history of paper and ink. Within each image, the juxtaposition of the ancient Eastern heritage of ink brush against the latest digital technique and printing method creates a new dimension of unparalleled possibility and beauty - a visual milestone in its own right.

I am very pleased at the results of this new addition to my collection of work, and in many ways; this series genuinely reflects the many facets that make up who I truly am.

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