從藝術史汲取靈感,王俊傑作品中野獸派般紫紅和橘色的天空,搭配河水的綠色和樹的紅色,同樣反映了他有意識地使用對比色來強化畫中的情感衝動。這件作品深深地紮根於人類歷程之中,畫中奇幻、田園詩般的畫面湧動著孤獨感和內心掙扎的暗流。忍受著內心惡魔的折磨,王俊傑像梵谷這般的天才一樣,將繪畫當作他慰藉的方式,不停地畫著(猶如草間彌生之早期創作經歷,參見 Lot 9《無限網 (QRTWE)》,2007年作和 Lot 10《水果 [EPSOB]》2007年作)。《黃昏的河》承載著沈思的寂靜重量,而它迷人的景色將觀者帶到了遠離喧囂和現實煩惱的另一世界。
王俊傑,《夜晚的河》,2018年作,Courtesy KARMA, New York
藏家之選
王俊傑2018在紐約的KARMA畫廊和巴黎的Galerie Frank Elbaz畫廊舉辦的兩次展覽,以及2019年和2020年在他過世後在KARMA畫廊的兩次展覽,均獲得了如《紐約時報》和《紐約客》等刊物的廣泛好評。2018年在貝魯特的Aishti基金會的展覽(當中展出了本件作品),以及2020年在雅典的藝術機構Arch的個展都進一步證明了人們對藝術家無限潛能的強烈興趣,而他的才華也將在其作品中永遠流傳。
Matthew Wong was a Canadian artist who enjoyed growing acclaim for his lush, dreamlike scenes that play on a rich tradition of art historical precedents. His work depicts the vivid but often melancholy terrain between sleep and wakefulness, lonely landscapes and isolated interiors rendered with a carefree hand and an ebullient palette, yet which contain an ineffable sorrow and a palpable but unnamed longing.
Wong spent his childhood between cultures: he was born in Toronto, Canada and at age 7 moved with his family to Hong Kong where he lived until he was 15, at which time the family returned to Canada. Wong began to experiment artistically already well into his adulthood, first with photography, which he pursued at the postgraduate level at the City University of Hong Kong, and then with painting. A self-taught painter, Wong developed his aptitude for the medium by immersing himself in online conversations with other artists and dedicated personal study of the history of art. His paintings attracted almost immediate attention, but Wong tragically passed away in 2019 just as his work was beginning to receive widespread critical praise.