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Dan Colen

When I’m Gone

March 21–May 13, 2016
Hong Kong

Installation view © Dan Colen

Installation view

© Dan Colen

Works Exhibited

Dan Colen, Rats of Reality, 2016 Flowers on bleached Belgian linen, 93 × 74 inches (236.2 × 188 cm)© Dan Colen

Dan Colen, Rats of Reality, 2016

Flowers on bleached Belgian linen, 93 × 74 inches (236.2 × 188 cm)
© Dan Colen

Dan Colen, Fresh Flesh, 2016 Flowers on bleached Belgian linen, 93 × 74 inches (236.2 × 188 cm)© Dan Colen

Dan Colen, Fresh Flesh, 2016

Flowers on bleached Belgian linen, 93 × 74 inches (236.2 × 188 cm)
© Dan Colen

Dan Colen, Lets have a war, 2016 Flowers on bleached Belgian linen, 93 × 74 inches (236.2 × 188 cm)© Dan Colen

Dan Colen, Lets have a war, 2016

Flowers on bleached Belgian linen, 93 × 74 inches (236.2 × 188 cm)
© Dan Colen

Dan Colen, Paralysed, 2016 Flowers on bleached Belgian linen, 93 × 74 inches (236.2 × 188 cm)© Dan Colen

Dan Colen, Paralysed, 2016

Flowers on bleached Belgian linen, 93 × 74 inches (236.2 × 188 cm)
© Dan Colen

Dan Colen, Thristy and Miserable, 2016 Flowers on bleached Belgian linen, 93 × 74 inches (236.2 × 188 cm)© Dan Colen

Dan Colen, Thristy and Miserable, 2016

Flowers on bleached Belgian linen, 93 × 74 inches (236.2 × 188 cm)
© Dan Colen

Dan Colen, Sick Sick Sick, 2016 Flowers on bleached Belgian linen, 93 × 74 inches (236.2 × 188 cm)© Dan Colen

Dan Colen, Sick Sick Sick, 2016

Flowers on bleached Belgian linen, 93 × 74 inches (236.2 × 188 cm)
© Dan Colen

Dan Colen, Why don't we do it in the dumpster?, 2016 Flowers on bleached Belgian linen, 93 × 74 inches (236.2 × 188 cm)© Dan Colen

Dan Colen, Why don't we do it in the dumpster?, 2016

Flowers on bleached Belgian linen, 93 × 74 inches (236.2 × 188 cm)
© Dan Colen

Dan Colen, Political Crap, 2016 Flowers on bleached Belgian linen, 93 × 74 inches (236.2 × 188 cm)© Dan Colen

Dan Colen, Political Crap, 2016

Flowers on bleached Belgian linen, 93 × 74 inches (236.2 × 188 cm)
© Dan Colen

About

Everything I do, whether it’s an oil painting, a painting made with a less traditional material, a sculpture, a film, or performance—whatever it is comes back to my exploration of the artist’s mark, that moment when the art locks into place . . . even if it’s just for a second.
—Dan Colen

Gagosian Hong Kong is pleased to present When I’m Gone, Dan Colen’s first solo exhibition in Hong Kong and the first dedicated exhibition of the Flower Paintings, begun in 2010.

In his paintings, Colen questions the very meaning and power of making marks on a canvas. The Candle Paintings (2003–) are highly detailed oil paintings of a still from the Disney movie Pinocchio. As Colen progressed in the series, painting several iterations of the same animated frame, the image became successively less coalescent, the rendering more individuated and further from the idea of the perfectly blended oil painting. In the Confetti Paintings (2010–), discrete marks hold their own space on the canvas, emphasizing their self-contained energy. Papier-mâché boulders (2006–) that use trompe l’oeil techniques in oil paint to mimic heavy sculptural stone, a series of natural stones painted to look like M&M’S candies (2012–), and the deceptive Birdshit Paintings (2006–) underscore the nature of Colen’s experiments in aesthetics and representation.

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我所做的一切,不論是油畫、以另類材料創作的畫作、雕塑、影片,甚至表演,都源於我對藝術家印記的探索,亦即藝術成形的一瞬間 . . . 哪怕過程只有一秒。
—Dan Colen

香港高古軒畫廊欣然呈獻Dan Colen首個香港個人作品展覽「When I’m Gone」,更首次展出他自2010年起創作的“花卉繪畫”(Flower Paintings)系列。

Dan Colen透過畫作探討在畫布上留下印記的意義及影響力,他於2003年開始創作的“蠟燭繪畫” (Candle Paintings) 系列,細膩刻畫迪士尼電影《木偶奇遇記》 (Pinocchio) 的定格照。隨著他重複繪畫同—個畫面,畫作漸漸出現差異,演繹方式更具特色,並進一步偏離完美油畫畫面的概念。於2010年起創作的“五彩紙屑畫” (Confetti Paintings) 系列中,顏色斑點散佈在畫布上,各有其空間,彰顯內含的力量。由2006年起創作的“紙糊巨石”(Papier–mâché boulders)系列運用油畫中的錯視畫(trompe l’oeil)技巧,模仿沉重的石雕。他由2012年起將天然石頭繪成M&M糖果,加上幾可亂真的“鳥糞繪畫” (Birdshit Paintings) 系列 (由2006年起) ,無不反映藝術家對美學及呈現方式的實驗探索。

解構作品的創作過程,以及深入探究原材料蘊涵的含意,亦驅使Dan Colen採用一反傳統的材料進行創作。抽象這一對筆觸和藝術家印記進行消解的過程,逐漸延伸至抽象的“口香糖繪畫”(Bubblegum Paintings)系列(由2006年起),作品以口香糖取代顏料,某程度上回應自己對油畫及其呈現方式的種種疑問。他的每個系列都花耗長時間處理繪畫材料,從而連番質疑其獨有的屬性。從口香糖以至街邊的垃圾,每種材料皆為常見之物,遠離當代藝術語境,推翻對繪畫本質的先入為主的觀念。大膽而脆弱的“花卉繪畫”系列包含Dan Colen過去六年間累積的觀感,這—長期感受推敲的過程與傳統風景畫家有異曲同工之妙,而此系列亦代表其作為前衛美國畫家的重要創作階段的巔峰。

透過“花卉繪畫”系列,Dan Colen放開對繪畫性筆觸的控制,將執筆繪畫的動作變成擊碎及敲砸的動作。他棄用顏料和畫筆,改用紐約市街角便利店及市場售賣的鮮花及人工染色花朵,並以橡膠錘、假陽具、保齡球瓶及桌球等日常物件,將花固定在畫布上。隨著花朵被放上畫布壓平,花的形狀漸漸模糊,在重壓下附在畫布上的花瓣及花蕊碎片,意味著這些作品既存在於現實世界,也存在於形而上的世界。“花卉繪畫”系列同時體現了藝術家對繪畫這一行為的抗拒和妥協。畫布上的印記均由外力形成,而非源於深思熟慮或充滿熱情的繪畫動作。在這些繪畫中,Dan Colen以花卉創作花卉影像,消弭了主題與物體、被呈現之物及象徵物之間的距離,而這正是藝術家持續探索的議題:何為藝術轉化行為的核心。

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