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  首頁 > 影音網>2/8-5/3虞曾富美 -春田博物館-超大布油畫藝術展
2/8-5/3虞曾富美 -春田博物館-超大布油畫藝術展

[轉載自:TAAC]

[taiwanus]於2020-04-04 08:04:03上傳[]

 

Marlene Tseng Yu 虞曾富美  2020 Cracking the iceberg  

 In this dark period, we take you out to nature and invite you to breathe deeply. Today's artist to watch, Marlene Tseng Yu, has a solo exhibition at the Springfield Museums. The March 22 reception was canceled, but we are here to share this great Taiwanese artist and her art with you. 

Marlene Tseng Yu responds to nature in a romantic way. She reacted to the sight of melting glaciers in her series Ice Cracking with layered black and white abstract paintings in acrylic that recall in technique both traditional Asian brush ink landscape and western Impressionism. Yu has increasingly employed gigantic paintings to encapsulate and absorb the spectator in an element of the landscape, introducing an added dimensionality, and emphasizing human frailty and the permanency of the landscape. Thus she has responded to the urgency of global warming with both artistic elegance and heartfelt passion.

The Essence of Nature: Paintings by Marlene T. Yu (The Green Movement in Art)  February 8, 2020–May 3, 2020  at Springfield Museums    Inspired by the natural world, Marlene T. Yu (born 1937) creates monumental canvases using energetic brushstrokes and vibrant colors. Born in Taiwan and trained in ink brush painting as well as academic drawing, Yu came to the United States in 1963, where she was exposed to Abstract Expressionism. For over fifty years, the artist has synthesized Eastern and Western traditions to create immersive abstractions that evoke the power and beauty of nature.  https://springfieldmuseums.org/exhibitions/essence-nature-paintings-marlene-yu/  http://www.rainforestartfoundation.org/2014/3/6/meet-the-founder-of-rainforest-art-foundation  https://www.marlenetsengyu.com/  

Conversation with the artist  MTY: Marlene Tseng Yu  LL: Luchia Lee    LL: For four decades, you have taken your artistic subjects from the nature environment. Visually, the paintings seemingly participate in abstract expression. During your artistic development, what changes have you seen or experienced?    MTY: My fascination with nature derives from its constant change in form, movement, and color. In my mind, I have countless images of nature. My challenge is to project what's in my mind on to the canvas or paper. I do not distinguish between representation or abstraction. Neither do I intend to project a personal stylistic approach to perspective, composition, or imagery. Rather, my prime emphasis is to focus on the natural phenomena of rhythm and movement.    LL: Earlier in your career, your work was figurative and portrayed images of actual objects such as zebras, and later you were inspired by microscopic objects, then by various natural subjects, and now by ice cracking. If your goal is to record the state of the environment, why do you use abstraction not representation?    MTY: The "Dream Series" came about from the accidental simulation of animal forms and human figures in nature. The diversion to paint representational objects was short-lived -- only for three years (1984-1986) in my career. I found the human body very limited. The "microscopic images" and "cracking ice" are but two series of 36 that I have done so far.    LL: Your work is mostly gigantic, and painting on canvas or on paper. Why do you choose this size?    MTY: Actually the gigantic works comprised only 10% of all of my paintings. Large paintings are time-consuming and complicated to execute. The difficulty increases proportionally when done on a continuous canvas, rather than in sectional parts. The visual impact of large paintings brings me greater challenge and satisfaction.     LL: Self-expression and representation both seem to appear in all your painting. How do reconcile them?    MTY: Self-expression and representation come seamlessly from my mind to my hand and the paint brush. There is no conscious effort to depict    

Conversation with the artist  MTY: Marlene Tseng Yu  LL: Luchia Lee    LL: For four decades, you have taken your artistic subjects from the nature environment. Visually, the paintings seemingly participate in abstract expression. During your artistic development, what changes have you seen or experienced?    MTY: My fascination with nature derives from its constant change in form, movement, and color. In my mind, I have countless images of nature. My challenge is to project what's in my mind on to the canvas or paper. I do not distinguish between representation or abstraction. Neither do I intend to project a personal stylistic approach to perspective, composition, or imagery. Rather, my prime emphasis is to focus on the natural phenomena of rhythm and movement.    LL: Earlier in your career, your work was figurative and portrayed images of actual objects such as zebras, and later you were inspired by microscopic objects, then by various natural subjects, and now by ice cracking. If your goal is to record the state of the environment, why do you use abstraction not representation?    MTY: The "Dream Series" came about from the accidental simulation of animal forms and human figures in nature. The diversion to paint representational objects was short-lived -- only for three years (1984-1986) in my career. I found the human body very limited. The "microscopic images" and "cracking ice" are but two series of 36 that I have done so far.    LL: Your work is mostly gigantic, and painting on canvas or on paper. Why do you choose this size?    MTY: Actually the gigantic works comprised only 10% of all of my paintings. Large paintings are time-consuming and complicated to execute. The difficulty increases proportionally when done on a continuous canvas, rather than in sectional parts. The visual impact of large paintings brings me greater challenge and satisfaction.     LL: Self-expression and representation both seem to appear in all your painting. How do reconcile them?    MTY: Self-expression and representation come seamlessly from my mind to my hand and the paint brush. There is no conscious effort to depict  

 Sincerely,  TAAC art team wishes you a safe time.    Taiwanese American Arts Council  


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