Color of 2017 年度色彩

Color of 2017

" We know what kind of world we are living in: one that is very stressful and very tense," said Leatrice Eiseman, the executive director of the Pantone Color Institute. " This is the color of hopefulness, and of our connection to nature, it speaks to what we call the 're' words; regenerate, refresh, revitalize,renew. Everything spring we enter anew cycle and new shoots come from the ground. It is something life affirming to look forward to."
----New York times December 8, 2016 by Vanessa Friedman

“我們知道自己生活在什麼樣的世界裡：一個充滿壓力和緊張感的世界，”潘通色彩研究所的執行總監萊亞特麗斯·艾斯曼(Leatrice Eiseman)說。 “這種顏色代表著希望，以及我們和自然的關聯。它代表著我們平常所說的以're'（一再，重新）為詞根的詞：regenerate（再生），refresh（煥然一新），revitalize（重振），renew（更新）。每逢春天，我們都會進入一個新循環，新芽都會從泥土中冒出。它是某種令人期待的使人向上的東西。”
“我们知道自己生活在什么样的世界里：一个充满压力和紧张感的世界，”潘通色彩研究所的执行总监莱亚特丽斯·艾斯曼(Leatrice Eiseman)说。“这种颜色代表着希望，以及我们和自然的关联。它代表着我们平常所说的以‘re’（一再，重新）为词根的词：regenerate（再生），refresh（焕然一新），revitalize（重振），renew（更新）。每逢春天，我们都会进入一个新循环，新芽都会从泥土中冒出。它是某种令人期待的使人向上的东西。”

-- 紐約時報 12月8日 

http://www.nytimes.com/2016/12/08/fashion/color-of-the-year-2017-pantone-greenery.html

New York Rewoven

New York Rewoven

Luchia Meihua Lee

Hans Hofmann remarked in On the Aims of Art that “every medium of expression has its own laws; founded on these laws it can be made to resonate and vibrate when stimulated by the impulses coming directly from the natural world.”[1] New York artists selected for Rewoven naturally display extreme creativity in intuiting and formulating laws to redefine and reshape “fiber art” ideas, practice, and content. In pursuit of a radical agenda, compelling voices reexamine innovation, social justice, and ingenuity in art history in a new context. Parsing our theme, isolate from “rewoven” the term “re-” to emphasize its meaning of “regenerate.” Clues[2] provided a hint which Rewoven has developed. While New York artists prosecute a provocative reweaving, more profound than intimated by the prefix. This exhibit celebrates concept and relentlessly questions and confronts the requisites of "Fiber Art." While weaving itself indicates an element of reversion and repetition, it has been ready to absorb the practical implication of the new critical regime with no delay.  Works here depart from a straight line to seek a new form and awareness, to more actively rebuild, furthermore to renew a value judgment. And these ineluctably update our contemporary conception world. By no means, has weaving been politically correct.[3]

Fig. 1 Mingjer Kuo, Suburban Housing, NJ.US.,
2012. Pigment print on drawing paper; 18 x 24 in. 

Private collection.

Art in the past two centuries is a direct consequence of the separation between society and real life. Yet in reimagining fiber art from craftsmanship to a new relevance and placing it beside new media in the forefront of the development of art. Ming-Jer Kuo has straddled this gap.  Kuo’s series Suburban Form apparently is manual and industrial, but upon closer inspection reveals an astonishing organic character. He challenges and expands the parameters of weaving by interlacing dried twigs and clear plastic(Fig. 1) he takes as his point of departure real estate maps, but he proceeds to lyrical and abstract forms. In fact, he produces a diagram of typography of Earth in a whirlpool caught in a spider’s web. In other work, he uses aerial views of repeating construction patterns to rethink and review the over developed land.

ips which subtly reflect the metallic shining in an installation. In the two-dimensional pieces,

       In the history of craftsmanship, fiber art reached its zenith in the traditional manual mode. The weaving of strand, fabric, and textiles accompanied everywhere in the world the development of human life and civilization. Insofar as it was pictorial, realism of the land and humankind were valued. Fabric intertwines an infinite possibility within a simple latitude and longitude to form a universe, but traditional weaving did not often explore these potentialities. Going beyond conventional methods, Chin Chih Yang uses weaving to discuss the harm we do to our earth. Using recycling materials, for 123 Pollution Solution in this exhibition, he chooses cans with shiny metal and dramatic labels or brand names, cutting and reworking them into a big blanket, and then twisting them to fit his message. And in a more direct piece, Mathematics of Light, thin, silky metal threads cut from cans are formed into a thicket equipped with flashing LED lights and join a small video that depicts factory chimneys polluting with endless exhaust. In Yang's oeuvre, he deals with the environment, social justice on Wall Street, religion, and natural disasters. Whether he uses beverage cans, manikins, video, or unexpected lighting, his art always addresses issues of current concern.

To be in harmony with the environment, artists like Hiroshi Jashiki blend emotional and intellectual effort to reach greatest simplicity, sharing some methods with artisans illustrating scenes from daily folk and personal experience. Magnificent artistic works are often produced. They result from facets of reality, the enthusiasm of the romantic, and some are strong fantasies depicting linear nature with a charming rhythm. Jashiki has been working in textile design; so naturally, he takes fabric as material for his work and experiments with color by way of textile software, creating both realistic and highly abstract motifs to create a romantic feeling. In paintings, curtains, triptychs, and screens, Jashiki is influenced both by Japanese Okinawan handweaving and modern digital textile design methods. Nice South France 03,

Fig2. Hiroshi Jashiki, Nice South France 03, 2015
70 x120 in. 

a six-panel folding silk screen, (fig. 2)is another sample of his fabric work taking inspiration from nature; the artist reveals the azure mysteriousness of the ever-changing ocean. The waterscape can be viewed from both sides of the mounted silk, light passing through the transparent screen bringing out a rigorous and impulsive feature. Diderot championed a reconciliation of reason with feeling so as to establish harmony, insisting that discipline is also essential to creating sublime work.[4]

       To deal with fabric in joining the conceptual with the interactive, Lulu Meng has created an intimate piece Threshold in which cloth forms three dripping gates through which people may walk. The artist thus discusses a way to interpret the relationship between body and fabric The harsh metal stainless steel and sterling silver wire in "Model" is suggestive of a corset straining a fetish in space, and gives an ambiguous clue.  In "Parts of a Whole," (Fig. 3)

Fig3. Lulu Meng, Parts of a Whole, 2015. 

Acrylic, fabric, threads, wood, clear film and lighting box; 

9 x 6 x 6 feet. 

made in 2015, she deftly uses fabric as a medium to address the weaving of individuals into the larger whole that is society. Her square, cloth lightbox hanging from the ceiling demands both appreciation from a distance as well as close scrutiny. It adumbrates the concern that runs through many of her works – the relationship between the individual and society.

     Pieced together from fabric-like plaster components, the white

bust of Poyen Wang’s Construction of intimacy signifies his healing or acclimating to a new environment. For this piece, he smashed a 3D print sculpture to fragments then gradually sewed it back together to form a complete face. His work is less open to the outside world but more personal and profoundly investigates the self. Theatrically projecting light onto a resewn face casts up an iconographic great man, and alludes to a fake or self-content social situation. In the brave new land, fragility morphs into apparent dominance.  A formidable stitch fabric book Atlas demonstrates both technique and manual expertise. The prototype of a landscape was captured from a painted wall in the New York City subway. Processing these images, he stitched together the fabric book by assembling digital pigment prints on silk fabric.  These urban and nature landscape application to an unaware delaying motion video piece. The projection where the artist intended to project the contraction with the rush crowd nowadays we experience in the urban and his preferences.

Fig. 4 Catherine Lan,  Rest Inside Me, 2017

       In another example of highly sophisticated conceptual fiber art, Catherine Lan has confronted the artificial and the intimate. She uses synthetic fur to transmit feelings at once organic, feminist, as well as exotic, in her series of "relief paintings" accomplished by cutting fur to form new topographies of forests, mountains, and even streams.  As the viewer changes position or strikes the cut faux-fur, so too the fabric alters color and texture, resulting in interactive scenery. In another installation piece, Rest Inside Me, Lan creates a fetishistic, exotic phenomenon – a hanging chair, covered with faux fur. The artificial fur, the cradle-like chair, the festive lighting, and the enveloping music all give shelter and reference the womb. Or from a different perspective, the work speaks to the need to break away from the hectic importunities of quotidian life, to deny imposed societal values, and take the time to rest and to focus on personal balance. (fig.4)

Awareness of the essence of life is difficult. For Steven Balogh, memory is barbed wire, looped around and around, layer on layer, and surmounting a high wall to recall a refugee camp. By contrast, his Money Windfall in its strict two-dimensionality, and as in Hoffman’s Aim of Art, “swings and resounds to the rhythm of color” in “achiev[ing] a three-dimensional effect by means of the creative process.”[5] The strokes drip color and form to then function symbolically, and the literary or journalistic consideration has been abandoned. Fiber to Balogh brings art to hard metal as in Peacock in a Trap where he arranges golf clubs in a cage-like structure, with the heads of the golf clubs signifying peacock feathers. Playing on golf’s sand trap, he entangles his notional peacock in an endless cycle, wire, line or metal web, the increasingly restrictive web imposed on him by the pressures of the outer world.

A restructuring process to a new form, constructs and might not destruct. The reweavings we take reflect a new perspective on making from traditional methods, new imagination leading to an unpredictable result. In this exhibition, fiber art elides into a subtitle, thereby, seemingly into a line, thread, fabric, or something else.

     Sarah Walko’s delicate installation looks beyond traditional weaving materials and physical constraints to ideological and conceptual possibilities. Her works address questions related to science, ritual, land, urban areas, and the surroundings. Walko’s reconstructed test tubes sometimes are wrapped together as sacrificial objects, or displayed along with small objects.  She carefully arranges various sized materials then crosses air and space tightening thin threads to frame an astrologic and philosophical structure that transmits sublime and mystical notions of the universe. Glass Orchestra entails a constellation of test tubes united by fanciful trails of fabric. This Glass Orchestra installation is a performance. It exposes an exquisite beauty that reveals a quiet melody to us and those within the glass test tubes.

       With a scientific and mechanical background, John Ensor Parker has conceived a science-based video entitled Multiverse that encapsulates formulae from Einstein’s theory, numbers which form and reform, dissolving into a series of words, and lines which merge into a surface. The digits, numbers, letters fly from a glowing sphere. His mapping pieces on buildings impose upon their targets light, motion, and another dimension. In this Multiverse, a time-space grid crosses the entire world both spiritual and virtual, drawing on both literature and science. Mirroring the entwining of images on the visual level, the light beams themselves are arrays of chains of photons. And LCDs, used ubiquitously in computer monitors, depend on a tapestry of pixels and the warp and woof of polarizing filters. (Fig.5)

Fig5. John Ensor Parker, Multiverse, 2016

        We build up a net that is destabilizing and transformative for ourselves and outside people. These artists reweave a world of creativity to reflect their surroundings. No matter whether this presentation is philosophical, minimal, literary, conceptual, abstract, or commentary on beauty or on the grotesque; the concept of fiber art in New York section has exceeded the capacities for a conventional control and rational comprehension. Equipped with a changing global point of view, especially in view of our expanded connectivity and reach globally, we chafe at the restrictions sometimes enforced. 

---

[1] 3. Hans Hofmann On the Aims of Art. IVA The Modern as Ideal, Ed. Charles Harrison & Paul Wood, eds. Art in Theory 1900-2000-An anthology of changing ideas.  Blackwell publishing 2002 p. 371.

[2]The Clues exhibition was held at Kaohsiung Museum of Fine Arts March 26 to June 26, 2016, and included 24 Taiwanese artists. The Taiwanese American Arts Council (TAAC) arranged a cultural visit to Kaohsiung for some guests from New York Cultural and Art organizations, and they had the opportunity to view the exhibition.

[3] In 2001 when Alexander McQueen was in Paris for his debut a few days after Sep 11, he was unapologetic for his smoke-screens and pornographic creation. He refused to make any change. “There is no link between the two things as far as I can see. Fashion should never be politically correct. Otherwise it wouldn’t be revolutionary. I just did what I always do.” Susannah Frankel, introduction, Alexander McQueen Savage Beauty. The Metropolitan Museum of Art 2011 p.22.

[4] Will Durant (1965). The Story of Civilization Volume 9: The Age of Voltaire Simon & Schuster p. 626

[5]Hans Hofmann ‘On The Aims of Art.’ IVA The Modern as Ideal, Ed. Charles Harrison & Paul Wood, eds. Art in Theory 1900-2000-An anthology of changing ideas.  Blackwell publishing 2002 p. 372, 373.

Museum of Arts and Design -工作坊MAD之屋（Studio Job MAD HOUSE) 藝術-設計-展覽

【紐約必看-Museum of Arts and Design】

工作坊MAD之屋（Studio Job MAD HOUSE) 藝術-設計-展覽

綠可

在紐約這充滿世界知名大型博物館、商業藝廊、非盈利替代空間或新媒材藝術工作室的城市。位於中城五十九街哥倫布圓環（ Columbus Circle）旁的藝術與設計博物館(Museum of Arts and Design) 的角色似乎有些尷尬，它介於藝術、設計、工藝、裝飾藝術與工匠技術等的中間，是個中型精緻但易被忽略的一個博物館。2008年9月自53街MOMA對街搬到目前所在，在2013年老館長Holly Hotchner退休後，同年10月延攬了Dr. Glenn Adamson在波士頓成長但曾在倫敦維多利亞博物館Victoria and Albert Museum (V&A) 擔任研究與策展工作擔任新館長。

藝術與設計博物館在最近3月22日剛推出了一個（非）設計、（非）傳統、（非）工藝、（非）雕塑、（非）當代藝術，絢麗而頹廢，文藝復興加末世紀，兼具當代又古典極爲獨特而無法被單一歸類的藝術設計展-Studio Job MAD HOUSE。展覽陳列了57件而兼具功能性家具與裝飾藝術品，這些造型結合了古典工藝設計與當代藝術的觀念性臨界。Studio Job將博物館展場打造一種工作室與設計家屋身臨其境的安裝。展出的藝術品也是家具，屏風櫥櫃、吸塵器、暖爐、照明燈飾、壁飾等等。展覽空間的牆壁和地板覆蓋物也是由藝術家的室内設計獨特構思，其中如小丑頭的傳統暖爐，馬頭的吸塵器，如鑿出岩礦中空的櫥櫃，翻轉法國天主堂的櫃子，城堡臘燭臺，對撞火車煙塊桌子，撥開皮的香蕉抬燈，日本和服的座椅有著生物化石的圖騰等。所有的創作有大到12英尺高，有小如厨具調羹，陳列品有著青銅磨光、鎏金及鑲嵌等，展場呈現閃閃黃金富貴豪華氣息，但作品同時提供某種令人不得噗嗤一笑的氛圍。

展覽名稱爲“工作坊MAD之屋”(Studio Job MAD HOUSE)，是設計與藝術博物館與Studio Job合作的第一次在美國博物館的展覽，這個工作坊（Studio Job）是由 Smeets先生（比利時，B，1970）和Nynke Tynagel（荷蘭，B，1977），兩人在2000年合作在比利時安特衛普成立了自己的工作室；他們開發出極具表現力和豐富與眾不同的的作品，其特點是以個人的敘述去合成與轉化裝飾圖案，以幽默，諷刺而和結合了歷史與社會文化的獨特性。

Smeets先生説到：“我們的設計不同於他人，不從現代汲取創作靈感，我們的貢獻是回復失去的故文化精華，這算是設計？還是純藝術？我們不知道…”。“對我們而言，設計創作不僅僅是依據原則，目的與精準，我們將裝飾藝術放置於21世紀的情境中”。Smeets先生和Tynagel從旅行教育中汲取靈感，在整個歐洲旅行並研究學習裝飾藝術史上的重要歷史藏品。他們對工藝的承諾體現了對傳統應用藝術活化的實際做法，如對青銅鑄造、鍍金、鑲嵌、彩色玻璃和彩陶復甦的持續的表現興趣，但運用當代的方法去轉化運行，如採取老藝術師傅工作室的技能讓有才華的藝匠接取生產創作。

就如同“Train Crash””Titanic”兩件造型類似的桌面作品，被對擠的黑色火車車廂基礎上鎏金的烟圈支撐，上打平爲光滑閃亮面的桌面；Taitanic沉船是桌腳，有著厚實塊狀的立體派黑色結構體，再加上豪華而荒謬的組合，但卻呈現無比的自然諧和感。陳列在牆上的草圖中也詳細的注明出尺寸材料等規劃的細節。“Rock Sofa” 就如同一塊我們常見天然水晶石塊晶洞的反轉，黃金生亮而光滑的座位在内黑色的聯結晶塊在表層，石塊的座椅系列多是以光滑金箔結合了凹凸不平的立體。展覽中也呈現了全球性混合異國文化的影響，如明顯的日本風格的儲櫃，有著浮世繪的日常生活圖像與圖騰，這是爲荷蘭與日本混種文化家庭所委托訂做的作品。還有一件受到中國的寳塔概念影響，取材15世紀的青花貿易瓷堆叠名爲金字塔的作品。另外展牆掛著一個一般銀色的平底鍋，卻是一面鏡子。

工作坊的作品因其跨學科的性質使得它難以歸於任何一個藝術類別。他們的想法可能被認爲無理取鬧和非常規的，但是件件令人驚艷而不脫貴氣，確實爲陳置在歐洲舊皇宮陳列的裝飾工藝或家庭用品提供了當代而高尚的可能。而Studio Jobs的藝術設計也得到世界組織的頂級聲譽。藝術和設計博物館的資深策展人，羅納德.拉巴克（T. Labaco ）指出Studio Job是今日當代設計圈最頂尖的設計工作室之一，他們在展覽流綫的設計與分類將帶領博物館的參觀民衆再解讀這些藝術品也將產生個人故事性的對話。博物館也精心規劃了一系列的活動，如*藝術家展覽介紹對談，* 設計家影片欣賞* 設計建築塊體研討*由Studio Jobs創作者引導的收集與策劃*兒童與家長展品故事與文學欣賞*創作品製造過程討論會等等。這個作品消除了當代與歷史工藝設計，貴族與中產階級用品的絕對分類，開啓另一個創意藝術與工業的無限可能。

藝術與設計博物館地址(Museum of Arts and Design)：2 Columbus Circle， New York, NY 10019
info@madmuseum.org   212-299-7777  更多訊息：www.medmuseum.org

http://madmuseum.org/exhibition/studio-job-mad-house

博物館地板安置



儲物櫃-現代浮世繪圖

Kimono 座椅，有生物化石圖騰



城堡燭臺

Jean Miotte 米奧特的亞洲遺憾--二度未成行

紀念法國藝術家 Jean Miotte 米奧特 （2016年3月 過世於法國南部）

Luchia Meihua Lee

Jean Miotte（1926-2016) 米奧特是80年代第一批在中國開放後進入展覽的藝術家之一，也在87年臺北國立歷史博物館展覽個展過。2012年抱著晚年再訪臺的期望，已準備再次到歷史博物館展覽，卻在各項審核完成後因身體健康狀態不佳無法成行，Miotte與Dorothea抱著理想在紐約雀兒喜成立美術館（Chelsea Art Museum)並夢想著有一日可以在頂樓蓋成望著哈德遜河的屋頂咖啡屋，然而美術館的理想不敵經濟衰頹及實際經營的困境而關閉，在晚年搬回法國。留下這輩子的遺憾！



Jean Miotte 米奧特的亞洲遺憾 - 二度未成行

By Luchia Meihua Lee

Background藝術家背景及繪畫風格   
Jean Miotte 米奧特( 1926出生於法國巴黎) 是50年後旅美的法國抽象藝術家, 為L'Art Informel的發起人之一. L'Art Informel的名詞是由法國評論家 Michel Tapié 所提出解釋”沒有形象”的藝術創作(without form); 相對否定於傳統形式, 這種繪畫風格在歐洲起源被稱為無形式主義 (L'Art Informel), 在美國這種形式後來被發展成為藝術史上重要的抽象表現主義(Abstract Expressionism), 或有人稱之為自動性藝術(Action Art). 。

Jean Miotte 米奧特的抽象創作表現色調帶有法國風, 然跨越歐美, 亞洲與非洲的的世界性藝術語彙。相較於中國或東方的抽象水墨藝術的輕柔與詩意與哲學性. Miottelu品體現出一種激情奔放, 真率的探索宇宙蒼穹下的線條與韻律性藝術。 他的作品主要被保存及研究於米奧特基金會Miotte Foundation。 Miotte 旅居紐約與巴黎兩地。 

他的藝術生涯始於第二次世界戰的十年後, 當非形像式的抽象主義在大西洋兩岸的當代藝術領域帶領風騷之際, 這時擁抱抽象主義不僅是一個風潮的事件, 而是文藝界價值觀及藝術範疇的改變。  事實上, 當時的政治及社會機構對抽象主義的貶抑造成了混亂, 抽象畫的趨向是藝術家創造了自己, 目前看起來似乎是在道德上的重要度已超越了當時政治及社會上實際的景象,  找尋當時領頭推動的藝術家有如 Shiraga Kasuo, Jean-Paul Riopelle, Emil Shumacher 以及 Miotte , 他們帶著藝術家個人的自由解放來表達了厚重彩色厚實的大筆觸的形式。. 如同Miotte的註解 :「我的畫是投射當創作發生時靈魂的張力與接替內在衝突的準確的時刻」 。

米奧的藝術創作受到舞台表演, 現代編舞,爵士音樂及芭蕾的影響, 而其中持續影響他的是芭蕾舞蹈, 1948年他在倫敦替Balanchine舞台設計,並得以欣賞芭蕾表演( Diaghilev  Ballet and Margot Fonteyn )  , 在接觸其他多樣的藝術形式中帶給他很深的啟發。 舞蹈是無聲的國際溝通語言, 透過表演去證明一切. Miotte 企圖透過他的繪畫去表達或實驗這種姿態及琢磨一種詩意的脈動, 如姿態性的繪畫(Gestural painting)    挑起一種日本武士與外科手術的手勢,但Miotte 的創意與柔性延伸的線條回應出一種現場舞動的藝術感,  當他開始作畫的時刻, 他成為修禪的射箭手, 他編輯每一個舞蹈筆觸, 他的油畫是個舞台, 當顏料躍起, 滴下的油彩對抗著地的吸引力, Miotte 實驗各式的繪畫媒材從油畫顏料,壓克力顏料 , 到膠彩 , 水墨, 蝕刻, 石版畫, 拼貼等, 他使用黑色顏料在白色或原始的畫面創作就如書法表現的主題般, 色彩範疇從原始色到泥土的色調出現, 評論家說他獨特之處是在無形式主義的藝術家群中他持續的成長抗拒重複性, 質疑他自己及形式的表現,  90 年代他開始創作大型油畫, 他在80年第一次亞洲展受到極大的好評,作品觸動觀者的內心情感, 在於留白的畫面與大筆觸的黑墨色揮灑和東方禪與道有了深刻的對話。

他抽象作品的厚重直接蘊含的力道, 自在灑筆觸, 與流動的繪畫型式,.呼應其後歐美抽象表現與東方書法與水墨有相互的意義。旅法抽象大師趙無極是他的同期舊識 ,美國抽象表現藝術家Franz Klein 有多次互動。他的個人展覽已超過400次, 作品在200以上的地區展出過。Miotte 現年85歲, 仍然不定期往返紐約、巴黎與瑞士工作室. 雖身體健康情況並不佳, 需特別看護, 然對於藝術創作熱勤不減, 當回答與敘述他的藝術創作時刻, 則整個人的能量蜂湧, 參與討論。

Illimité cosmique

1999， Acrylic on canvas

300 x 500 cm (118 1/8 x 196 7/8 in)

法國的藝術運動期,  整個歐洲與法國巴黎在一種振興物質與精神上頹廢的氛圍,  1944年輕的Miotte 在18 歲的年紀,所以得以去追求一種嵑然不同的現代前衛藝術展現. Miotte 的作品這時仍帶有隱約具像的形體,色彩則顯得灰黯,或是帶有幾何圖像的組合。1945存在主義瀰漫, 沙特(Sartre)的著名書籍出版,.象徵與物體仍然於兩級的辯證中, 在那個世代, 繪畫不僅是繪畫, 而是關於經驗與生活的展現, Miotte 發現自己進入以精神為導向的世界中, 他投入了戲劇舞台的設計, 也是他對藝術的第一個表白。他的作品也同時在進行另一種截 然不同的色彩線條實驗。

1947年Miotte受到大師如Robert Delaunay, Leger, Villon, Rouault, Matisse的影響,.1950 法國的藝壇處於複雜情結與動盪中, 在於藝術再現的成就及抽象訴求的糾結, 法國的藝評家Michel Tapie 提出了”Art Informel” 這一個名稱來描述Jean Dubuffet, wols, jean frautier 及alberto burri 等這一新團體的作品, 如Tapie所述, 這類作品部願意受創作過逞的限制, 而全然灌注在相反的 彈性的 不理性的與及自由的形式, 並带著實驗和非傳統性的工具與媒材去敷彩, 藝術史家則同時使用如”Tachisme”, L’art autre” abstract expressionism” 或 “action painting”來標注這類作品. 。 Miotte 開始他的抽象畫,.有別於 1953法國時期畢卡索等大師的重彩形式主義, Miotte 1955的作品有著感情自由高度表現,以黑色為主, 稱為「黑色時期」; 1957 作品直接觸碰而厚重,甩動,有精神上的敏感及衝動的表現,情感上張力與畫布合一 。

 1977在紐約設立工作室, 正式與美國抽象表現相逢; 他 1970「白色時期」的作品, 平靜的再發現, 提供一種間接炫目的能量, 白色成為半透明紗布披在色彩上; 另外1975時發現的棕色質感的特殊表現, 他試著直接在畫布上揮灑,留下原始的構造及粗糙的畫布紋理, 有別於塗底與架構上的安排, 表現一種自在的秘密感. 直接在原畫布上油彩, 所以他可以即時的保留感受, 1977-84 他持續大量進行這種原畫布的表現。 

Illimité cosmique
1999
Acrylic on canvas
300 x 500 cm (118 1/8 x 196 7/8 in)

1980 年後亞洲之行, 發現他的抽象表現竟與中國水墨書法平行進行; 然而他作品的留白之處卻是不同, 是一種隱含式的遮掩, 是鬥牛開始前的蘊含,是剎那間的分離與開始, 也是火花的爆發點與死亡。 

論及他的更近期繪畫技巧,從作品上可見毛刷筆觸, 掃動、飛奔、 頓壓、投射、噴灑、滴流、塗抹。他的拓印式的摩擦繪畫如飛灑的種子快速的塗抹畫布表面, 這是他美國時期的近期作品, 不同於早年膠彩之處, 他作品色彩也是以拓印方式表現出方向, 力道及速度感。 

他的作品不是形式的投影或是再現, 是情緒的直接表現; 如同Satre的理論快樂的經驗是由自己所決定的。

 他的雕塑作品不多, 但確是他自20歲創作以之維生支持生活的開始, 以桌上型的小件的, 期後將作品放大, 有一種圓潤及原始線條的拙趣。 與他的繪畫並置相較顯得收斂而陳穩。 

Jean Miotte作品系列
· 早年50年代作品
· 黑色系列60-70年代畫作
· 白色系列60-80年代畫作
· 原畫布與版畫 60-70 年代
· 後期厚重彩色厚實的大筆觸的形式80-90年代畫作
· 雕塑作品或圖片
· 創作錄影帶Video
· 其他相關輔助資料



Le Geste

1999
Acrylic on canvas
162 x 130 cm (63.75 x 51 1/8 in)

In memory of  Jean Miotte（1926-2016)
The Missing Jean Miotte L’Art Informel in Asia

 “...Jean Miotte is one of the truly cosmopolitan men of our time and an artist who can be understood and appreciated thought the world , be it in Europe, Asia, America or Africa-he has created a universal pictorial language that transcends borders. ..“-- Karl Ruhrberg (MIOTTE).

Jean Miotte, (b. 1926-2016) came of artistic age in the decade after World War II when non-figurative gestural abstraction was emerging on both sides of the Atlantic as the contemporary artistic language. The term “L’Art Informel”, was coined by the French critic, Michel Tapié to connote “without form”. The negation of traditional form, a radical break from established notions of order and composition, was particularly suited to a cultural environment born out of the circumstances of postwar Europe where abuse of morals and fascist ideology had led to such horror and destruction.

While L’Art Informel is often regarded as the European equivalent of Abstract Expressionism, it is distinguished from its American counterpart by a loss of faith in progress and the collective possibilities of an avant garde. Rather, the artists who came to be grouped as L’Art Informel – Jean Miotte, Jean-Paul Riopelle, Emil Schumacher and Kazuo Shiraga, among others – claimed an individual freedom embodied in the spontaneity of the gestural, abstract language to create a bridge between cultures, to break beyond national barriers of geography or expression to form a truly international language.

The power and transcultural appeal of this painting was soon seen in its international reception. Miotte was invited to exhibit throughout Europe, America, the Near and Far East long before the concept of globalization was current in artistic terms. But whereas globalization tends toward cultural uniformity, Miotte’s work fostered individual dialogue within each culture.  

While Miotte’s work remains committed to the Utopian aspects of gestural abstraction, he has continued to grow, fighting the repetition of a signature style, constantly pushing the boundaries and possibilities of the line, the gesture and the liquidity of paint.

  About  the Artist

“Arising from inner conflicts, my painting is a projection, a succession of acute and intense moments realized in full spiritual tension. Painting is not a speculation of the mind or the intellect; it is a gesture which comes from within.”  --Miotte

 

Jean Miotte began exhibiting in 1952 and continues working to this day. As one of the important protagonists of L’Art Informel, his work is inspired by the desire of the postwar generation to create a universal human language in art, a path to peace after the horrors of war.

His universality is reflected in international success. Jean Miotte has exhibited regularly since 1952. He first arrived in New York in 1961 with a Ford Foundation cultural exchange grant, and after a period of work and travel throughout the U.S. he had his first New York solo exhibition in 1962 at Alexander Iolas. Later his work was exhibited by the Martha Jackson and Gimpel & Weitzenhoffer galleries and many otheres. Miotte’s extensive collected works are preserved as a legacy for New York, where he has had a studio in SoHo since 1978. Miotte is represented in the collections of the Guggenheim Museum, MoMA, and numerous other major museums in the U.S., Europe and Asia. In 1980 he was the first Western painter invited to exhibit in post-Mao Beijingand has exhibit his works in Taipei National History Museum, National Singapore Museum, Hong Kong and Japan Museums. Nowadays, The Miotte Foundation, dedicated to archiving and preserves the oeuvre of Jean Miotte and fosters research into the L’Art Informel movement.

Miotte describes abstract painting as “a voyage through the 20th century”—revealing at once an experience of alienation and yet breaking through barriers of nationalism to create a wholly international language.

Miotte’s seminal influences include Jazz but especially dance. In London in 1948 he did set design and saw the work of Balanchine, the Diaghilev Ballet, and the Grand Ballet du Marquis de Cuevas. Miotte experiments in media ranging from oil and acrylic to gouache, ink, etching, lithography, and collage. Black paint on a white or raw surface is a nearly constant theme which recalls calligraphy; when color appears, it ranges from primaries to earthy tones. Critics say he is unique among the La’ Informels because he continues to grow, fighting repetition, questioning himself and his form of expression. In the 1990s he began producing the largest canvases of his career.

Gestual Painting 

Le debut

 

“Like dancers, his fluid structures are vigorous and delicate, firm and fleeting,”-John Yau

Gestural painting can evoke the hand of the Samurai or the surgeon, but Miotte’s lithe, inventive line echoes the living art of dance. When painting, he becomes a Zen archer, choreographing each stroke. His canvas is a stage where paint leaps, and where drips refuse gravity. His use of black paint on a white or raw surface is a theme which frequently recalls calligraphy; when color appears, it ranges from primaries to earthy tones.

Miotte's painting technique is based upon unpremeditated strokes and immediate gestures. He allows no repainting or overprinting or reconsiderations.

Upon careful inspection, one finds that Miotte uses splashes of paint or drops of ink in a small part of his painting. The small drops of ink provide a counterpoint to the main theme of the painting and catch the moment. Miotte's devotion to spontaneity of expression s reminiscent of his taste for jazz, in which there is a similar dynamic of experimentation based upon structure.

Dancers and a musician embody the space, color, gesture and feeling of large Miotte’s abstract paintings. Viewers can choose to see the performers and paintings from multiple places as they move through the cavernous gallery space. Paintings which first appear in the background seem to move forward and merge with the dancers as the perspective continually changes. The proximity of the performers to viewers dissolves boundaries between observer and observed. Jean Miotte describes it as, “A magnificent evening where Dance opens the spirit to painting.”

The paintings demonstrate a continual search for renewal through abstract vocabulary, emphasizing Miotte’s unique gestural quality which has such an affinity with dance. The artist has said, “dance, choreographic expression seems to me to be the most acute gesture, instant and intangible, once given and then forever captured by the eye: movement, shifting lines, fixing them in our imagination and in time – abstract art par excellence.”

Dialogue with Asian philosophies

Miotte’s paintings do in certain aspect to conversation with an Asian philosophy and Art style of Caligraphy. his paintings are very Zen-line in their simplicity. They are like a series of sketches and very much of the moment. Unlike the historical western oil painting. There can be no repainting or indecision in a Miotte painting. The paintings may contain much empty space, thus recalling the spirit of Chinese brush-ink landscape painting of the Ming or early Qing, or Taoist painting. Miotte's big black and white paintings have big strokes similar to large brush calligraphy-like painting.

Miotte was a friend and neighbor of Zhao Wu Ji in Paris, and they belonged to the same artistic movement. Zhao's work might be more literate with dissolving brush strokes; softer and more detail-oriented. While Miotte's paintings are stronger - full of energy and movement. Some of his paintings are more colorful, with well-defined layers. Some people in Taiwan might compare Zhao to Chu De Chun or Chen Chen Hsiung; they have been called the three Chinese French artists. The above comments allow viewers to see Miotte’s paintings in a way that is better aligned with the Asian goals.

Works

• · 50s early more realistic work Black series
• · White series Cavas
• · Large colorabstract painting
• · Sculpture and photos
• · Video
• · Books, Postcard and other marchandice.