【Taipei · DunRen Gallery】 「 Gradient」 Christiane Grimm 2022.05.07- 2022.06.26

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Bluerider ART ,DunRen Gallery

「漸層 Gradient

克里斯蒂安.格琳 Christiane Grimm 在台首個展

克里斯蒂安.格琳 Christiane Grimm (German, b. 1957) 畢業於斯圖加特大學 Universität Stuttgart 建築所。她的創作被稱為「不插電的動態光影」。多年來她 持續實驗研究光線、色彩、空間,與特殊玻璃、壓克力等材質的特性結合,有系 統地、精確地、處理分層感知色彩,讓物理光線影響著圖像的具體性,作品隨著 光線變化、觀看位置不同,顯示立體漸層以光作畫。作品於德國 MuseumRitter、 Wilhelm Hack Museum 展出並獲頒 The public’s choice award 獎項。獲德國 海德堡市政府、德意志銀行,以及眾多私人美術館 Das Kleine Museum、 Kunsthalle Würth、私人機構 PwC 資誠聯合會計事務所…等永久收藏。

格琳 Grimm 使用金屬、有機玻璃、古董玻璃、壓克力或紙本繪畫..等媒材來創 作,她不僅運用工業化材質,也利用手工技法,混合拚貼幾何、極簡主義的概念。 格琳 Grimm 研究並關注色彩、光線、空間所構成的氛圍 ——所見的 「光線」 是穿透物質的媒介,選擇「透明」的玻璃媒材讓作品的前景和背景的分離更加流 暢。眾多作品由垂直水平分割的塊狀圖形構成,漸變的序列色彩與線條不斷交疊, 在光線的照映下,呈現一種立體而柔和的物質性,沉靜有秩序,也因光線與觀者 視線移動的變化,產生色彩的流動狀態,色彩邊緣的界線相當模糊,近距離觀看 時,會發現其表面相當細緻。作品整體破除嚴謹的幾何型態,透過帶菱紋玻璃、 色彩選擇與反覆試驗,作品充滿強烈的繪畫特徵,光引導著觀者凝視作品,縱使 積極凝視,也無法一眼望穿。色彩是人們所見的天空、海洋或是土地,或是教堂 窗格映入的彩色玻璃故事,帶有冷暖寓意,尤其夜間作品自帶發光,神秘且寧靜。

回顧藝術史,在 1960 年代美國的極簡主義(Minimalism)同時發展至歐洲德國 藝術圈,極簡藝術極力排除阻礙視覺的要素,追求呈現物件的真樣貌,讓作品還 原成純粹的認知對象,部分藝術家統一用工業材料,簡化型態,或是強調作品與 空間的連結。像藝術家 KeithSonnier 使用霓虹燈的線性質量在空間中繪製光和 顏色,而光的漫射使作品能夠在各種建築平面上相互作用。當代藝術家 James Turrell 在建築場所建構作品,從白天至黑夜,太陽和月亮的光被帶入私密的空間, 讓觀者經歷直視物件本質的過程。又如藝術家 OlafurEliasson 使用光、水和氣 溫等元素材料來增強觀眾體驗的大型裝置藝術,於室內外空間創造驚奇。同時, 歐普藝術(Op art)中對色彩應用的手法在格琳 Grimm 作品中反覆出現,歐普藝術採用幻覺般的色彩,重複簡單的形式和顏色組合,或是莫爾波紋(Moiré patterns),操縱透視規則以產生三維空間的錯覺,混合顏色以創造光影印象。

此次在 Bluerider ART 台北·敦仁的「漸層 Gradient」個展,格琳 Grimm 特別 依 台北·敦仁館現地創作的大型全新裝置作品 Solar Winds(2022),將不同材 質混合擴大,獨自傾瀉立體光影、呼吸,表現「漸層」細膩的視覺感動。另外, 從雕塑、牆上裝置,各種幾何形狀,不同維度組成產生非靜止、不插電的動態效 果,色彩表面創造感知模糊,一座座海市蜃樓在眼前出現、消失,令人反覆玩味。 小型立體雕塑作品,水平垂直的片狀空間構成純粹、如同建築的微縮模型空間, 光線可在其中自行穿透、及不可穿透的異材質,構成自成一格的建築體,錯置的 窗格顯示了彩色光譜序列,展現連續韻律的視覺節奏。「光」是格琳 Grimm 創作 的核心元素,藉由光影呼吸、穿透、玻璃、 色彩、透明,物質相互對照與呼應, 給予觀者純粹而雋永的絮語。

「漸層 Gradient」
克里斯蒂安.格琳 Christiane Grimm 在台首個展

開幕式:2022.5.7 3-6pm
展期:2022.5.7 – 2022.6.26
地點:BlueriderART 台北·敦仁
Tue.-Sun., 10am – 7pm
台北市大安區大安路一段 101 巷 10 號 1F

藝術家 Artist


Christiane Grimm 克里斯蒂安·格琳
(German, b. 1957)

Christiane Grimm's artistic work is characterized by colors and their interrelationship. Her concept to from images is breaking through the formal stringency of abstract geometric art. In her latest pieces she is totally opening them and arranges them freely. Despite the diversity of shapes in her composition she accentuates the sensual aspect of colour. She is aiming at the process of seeing and on the movement of colours. In her objects she sets colour and form in such a way, that the one broken through the other, produces a calculated and at the same time vital image world. They are poetic formations of light and floating surfaces- very rarely also achromatic. Through the use of reeded acrylic glass, Grimm achieves optical effects that are contrary to a clear spatial perception. Owing to the refraction of the color on the finely delineated ribbed glass, her work has a decidedly painterly character and seems to be less an assemblage of different materials. The artist creates the colors as simultaneous contrasts, which converge or diverge. Depending on the choice and composition of the colors, their relationship with each other is either more complementary or noncomplementary. The intuitively set colour tones appear to the viewer consonant or dissonant. The simultaneous interplay of the colors is in motion and aims at the attentive and active perception of the viewer. The reason why Grimm's pictures cannot be appreciated at a glance, is founded in the fact that light and how it is guided, is an essential part of her objects. She collages various materials such as specially colored papers and mirror surfaces, to include the ambient light in her conception. It is particularly fascinating to experience her objects in different light situations. Depending on the lighting, surfaces appear which were not noticed before; also areas, that were previously in the dark, flash up. Often certain color values are intensified so far that they appear to glow. The viewpoint plays an essential role for its perception. A step forward or backward, to the left or to the right can cause completely different or new visual impressions. With well-calculated artistic means Grimm achieves arrives, to give the static structure of her color compositions a stupendously real and virtual dynamic on different levels. The light transforms the states of the image and the perception alike. Christiane Grimm's subtle colored and non-colored picture objects often cause surprise. This generates curiosity to become acquainted with the individual piece of art closer and more intensely in all the ways it appears and the artist`s oeuvre in its various facets.

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