《在歷史上塗鴉－黃麟詠個展》創作自述
Doodling on History: Huang Lin-Yung Solo Exhibition Artist Statement
我的作品中可常看到斑馬出現在浮世繪裡，「浮世」兩個字的意思，為俗世、塵世，浮世繪則是描繪人世間的生活百態，斑馬系列作品是人類在社會「行為」的縮影。斑馬身上的條紋是經過千年演化為了躲避掠食者的攻擊。在作品裡用來擬人化，人類的行為也是經過千年的演化，藉由語言、文字、服飾、規矩、規範、文明等，來包裝與偽裝自己。
In my works, zebras often appear in Ukiyo-E. “Ukiyo” means reality, the “floating world.” Ukiyo-E portrays the various imageries and scenes of life, while the zebra series is an epitome of the behaviors of humans in society. Zebras’ stripes are evolutionary camouflages that shield zebras from predators; the concept is personified and refers to human behaviors that have evolved over thousands of years. Compared with black and white stripes, humans use language, words, clothing, regulations, rules, and civilization as camouflage.
斑馬快閃在各種世界名畫裡面，例如作品《安迪沃荷的當代漂流第三幕》、《網美牆》、《馬上有錢》、《皮卡丘與快打旋風的矛盾大對決》指涉著人類到了一個知名景點或是知名的物件都會做一個打卡的動作，斑馬用嘲諷或是調侃的方式來描繪這個世代所發生的事件，斑馬的行為是這系列主角存在的用意。
The image of the zebra flashes across world-famous paintings. Works Andy Warhol Drifts in Contemporary: Scene Three, The most Instagramable wall, Get a large fortune at once, and Pikachu V.S. Honda — A contradict showdown hint to the constant need for online presence every time people travel to famous locations or come into contact with famous objects. The zebra ridicules these incidents, and its action is the central meaning for this series.
從學生時期對古典繪畫單一的訓練方式感到枯燥的，為了突破傳統油畫的表現方式，捨棄由明到暗、由淺到深，仔細描繪對象物的方式。開始思考繪畫的可能性，用彩色點點與平塗的方式成為一種風格與策略，嘗試用自己的語言與當代的流行符號，挑戰約定俗成的藝術標準與價值觀，並紀錄這個世代的各種矛盾現象，以各類經典符號為構圖，浮世繪被介入西方的流行符號。
I became bored with the classical painting training I received during my student years and decided to break free from the conventional expression methods of light and dark and detailed oil paintings. I started thinking about the possibilities of painting and adopted colored dots and flat color coating as my style and creative strategy. My works are attempts at challenging existing artistic standards and values using my own language and contemporary, popular symbols while documenting the various contradictions of our generation, using the composition of classic works and intervening Ukiyo-E with symbols from Western popular culture.
例如作品《世界神獸大戰日本神獸》描述的是哥吉拉是日本動漫、漫畫、電影怪獸的原型，也是日本神獸的代表，浮世繪則是日本文化的代表。普普藝術與安迪沃荷所建立的康寶濃湯罐頭的符號，在經過藝術機制的考驗後而成為藝術的殿堂，也被全世界所神格化，安迪沃荷是世界的神獸。在世界強勢的文化入侵到日本時，哥吉拉保護著日本的文化，這裡與一般電影所想像的戰爭不一樣的是，不需用槍、大砲、飛彈，就能夠侵入到一個新的國度。還有像是作品《我宅我驕傲》裡的浮世繪的美人拿著最流行的漫威漫畫，並且用神力女超人的裝飾來裝扮自己。在十幾年前卡漫文化被視為次文化，看漫畫、看卡通甚至是不被大人所接受的娛樂。但是現在已成為主流文化，漫威、DC漫畫所出的電影成為人們與媒體必討論的焦點，沒有看過這些電影就好像沒有活在同一個時空裡。喜愛動漫的阿宅已經變成日常，並且可以很驕傲地炫耀自己收藏的物品與搶到首映會的電影票。
The western mythological animal fights the Japanese mythological animal portrays Godzilla, the archetype of the beast in Japanese anime, comic books, and films, and model for the sacred beast of Japan, while the Ukiyo-E is the quintessence of Japanese culture. Having passed the trials of the art system, Pop Art and Andy Warhol’s Campbell Soup cans have become a sacred symbol of art, and Andy Warhol has become the “sacred beast” of the world. As Japan is invaded by the more aggressive cultures of the world, Godzilla has become the guardian of Japanese culture. This war is unlike those presented in films; there is no need for guns, canons, or missiles when invading a nation. The beauty in I am a nerd and proud has a popular Marvel comic in her hands and is dressed as Wonder Woman. Over a decade ago, cartoon and comic culture were seen as subcultures, even deemed inappropriate entertainment by adults. Today, cartoons and comic books are recognized as mainstream culture, and Marvel and DC comics have become popular themes throughout media and in conversations. People who haven’t seen these movies are regarded as unusual. Today, comic-loving homebodies have become a norm, proudly showing off their collections and tickets to movie premieres.
我的作品中也將西方古典繪畫被介入浮世繪而產生衝突感，也說明了文化與文化之間不停地在拉扯與變動。例如作品《文化衝擊》東方相信各式各樣的鬼神與人類共同生活，而西方只相信一個上帝，百鬼夜行利用浮世繪來維護自己的文化，上帝代表著西方的文化。看似在彼此對抗又像是文化交流。以日本民間傳說百鬼夜行接觸西方的創世紀，體現不同時空所產生的繪畫方式大不相同，東西方所存在的思想也截然不同。
My works also insert classical Western paintings into Ukiyo-E to create conflict, a presentation of the constant tug and change between cultures. For instance, work Cultural Shock conveys the idea that Eastern cultures believe various ghosts and deities live among humans, while Western cultures believe that there is only one God; the “Night Parade of One Hundred Demons” represents the protective guardianship towards their own culture, while God represents Western culture. The tension between the two is at the same time a state of conflict and cultural exchange. By merging the folklore of “Night Parade of One Hundred Demons” with the story of Genesis from Western culture, Cultural Shock communicates the discrepancy between painting methods of varying times and spaces, also between different thought systems.
而作品《一場不斷被拋棄與復辟的信仰》這件作品原本是聖母獻聖子的題材，以往的「朝聖」的意義從虔誠的信徒拜訪聖地，轉換到現代變成朝聖去排隊購買或觀看新事物，作品中點唱機代表的是推陳出新的新事物，現代的男男女女看到新潮的點唱機，就把信仰擺在一邊。一旁的斑馬在後方冷眼旁觀地，訴說著隨著時代的變遷影響人類的消費行為與生活，人類有時會為了自己的慾望而放棄了更重要的信仰。作品中，中世紀的建築相較於浮世繪，中世紀建築屬於舊的東西，浮世繪相較於點唱機，浮世繪屬於舊的東西，點唱機相較於肯德基，點唱機屬於舊的東西。文化產物會隨著時代不斷地被替換與復辟，人們會拋棄舊的信仰追求新的信仰。
Work Faith that is Repeatedly Discarded and Restored originally depicts the theme of “The Purification of the Blessed Virgin Mary,” but the idea of people congregating for pilgrimage has been transformed into onlookers or people crowding to purchase merchandise. The jukebox at the center of the image represents new and innovating commodities, and the men and women fascinated by the new products have discarded faith to one side. The zebra coolly views the entire commotion from the near distance. Faith that is Repeatedly Discarded and Restored speaks of the changes in people’s spending habits brought forth by changes of the times and how people sometimes abandon faith in favor of the satisfaction of desires. Between medieval architecture and Ukiyo-E, the architecture is more ancient; between Ukiyo-E and the jukebox, Ukiyo-E is more ancient; while between the jukebox and KFC, the jukebox is older. Cultural products are constantly replaced and restored, and people continue to replace their old beliefs with new faith.
我的風格常被歸類為普普，但不是安迪沃荷那個時代的普普，安迪沃荷讓日常物件與名人變成藝術，消弭了高低藝術之分也創造了符號。而黃麟詠是利用過去的名人，像是安迪沃荷的罐頭、浮世繪、電影、流行的物件。用不同時代的風格彼此作對話，變成諧擬式的對話。利用過去的流行符號重新組成這個時代的流行符號。作品內容的意義大於符號的創造。我的創作內容隨著人類所發生的社會事件而變動，就像是《皮卡丘與快打旋風的矛盾大對決》訴說著流行會隨著時間改變，即使曾經最風靡的事物也會成為歷史。流行會變動、價值觀會變動、審美觀也會變動。我期望自己的創作是能夠靈活地反映這個時代，每次新的事件、新的符號的產生，都將會詼諧地出現在我的創作裡。
My style is often categorized as Pop Art, but unlike the Pop Art in the time of Andy Warhol. Warhol transformed daily objects and celebrities into art, dispelling the distinction between high and low art while creating new symbols. Huang Lin-Yung, however, centers around “celebrities” of the past, such as Warhol’s tin cans, Ukiyo-E, films, and objects from popular culture. The dialogue between different styles becomes an exchange in the form of Art Parody, rearranging popular symbols of the past to form popular symbols of the present. The meaning of the works is greater than the creation of symbols. My works change with the social incidents of human beings; for instance, Pikachu V.S. Honda — A contradict showdown conveys the transient nature of fashion, and even the trendiest incidents or objects will one day become history. Trends change, values fluctuate, and aesthetics shift. I hope my works are flexible in reflecting the times; each new age, new incident, or new symbol will be humorously presented in my work.
