眾聲喧嘩

巴赫金的狂歡詩學，是未完成的詩學、變異的詩學，未經加工、生猛、本真的詩學；也是印尼藝術家依亞拜迪歐．匹可《怪物心神系列》奔放的線條、對比強烈的色塊、永遠「在路上」的原生野性與光怪陸離的超現實視覺日記；是丹麥畫家詩人卡斯帕爾．波恩《尋找出路》裡粉紅氣泡般的存在，迷離了客觀的棲居之所；是《花瓣》、《方塊天空》、《海浪（一）》中，美國畫家布萊德．達西以童稚之眼與自適之筆，畫出的波特萊爾式，既普遍又個人的通感：大自然是一座神殿，那裡有活的支柱……芳香、色彩、聲響，相互唱和著。

According to Mikhail Bakhtin, the poetry of carnivalization is the poetry raw, crude, authentic, and always in transformation and in progress. The surrealistic visual diary that the Indonesian artist Iabadiou Piko composes is carnivalesque, with its bold streaks, its contrasting color blocks in the “Monster Mind Series,” wild, primitive, and forever on the road. The pink-bubble-like existence in the painting “Looking for a Way Out” of Danish poet-painter Kaspar Bonnén is carnivalesque, mystifying a material living space. The American artist Brad Darcy’s “Petals,” “Square Sky” and “Wave#1″ is also carnivalesque, expressing the Baudelairien correspondances with his childlike regard and carefree posture, universal while personal:”Nature is a temple where living pillars… perfumes, colors and sounds correspond.”

 

〈Notebook｜筆記本〉2019，Oil on canvas ｜油料於畫布，115 x 95 cm｜45.2 x 37.4 inches

 

〈Looking for a Way Out｜尋找出路〉2019，Oil on canvas ｜油料於畫布，115 x 130 cm｜45.2 x 51.2 inches

 

〈At the Psychologist｜ 當在看心理醫生時〉2019，Oil on canvas ｜油料於畫布，180 x 135 cm｜70.8 x 53.1 inches

 

保羅．艾呂雅說：「存在著另一個世界，它就在這個世界裡。」若說布萊德．達西以自動化繪畫技法、孩童感知世界的純真塗鴉，自集體潛意識中萃取出如《失去連結》般深邃的符號，以簡單的幾何、黑白的歧異帶出不可觸及的寂寥，並用夢幻的簡筆畫在《與我徘徊》中勾勒出人們原初的願想，喚醒一種寧靜、本真的狂歡；那麼，波恩就似靈光閃爍的鏡子遊戲，一場詩意，辯證的狂歡，叫人不由追問究竟整幅畫是《筆記本》，畫裡的筆記本是筆記本，抑或畫裡筆記本中的筆記本才是《筆記本》？

“There is another world. Yet, it is in this world,” says Paul Eluard. While Brad Darcy extracts the resonating sign from collective subconsciousness with automatic drawing technique and childish innocent graffitis in the “Missing Link,” creating a sense of loneliness by simple geometric graph and separated black and white, in his “Hover with me” the dreamy stick figures conjure up the purest wish deep down human beings.

 

〈Funny Face｜逗趣的臉〉2020，Ink, watercolor, pencil on paper｜墨水、水彩、鉛筆於紙上，39.4 x 28.8 cm｜15.5 x 11.34 inches

 

〈Wave #1｜海浪（一）〉2019-2020，Ink, watercolor on paper｜墨水、水彩於紙上，61 x 48.3 cm｜24 x 19 inches

 

〈Marked Up｜標示〉2020，Ink, watercolor, pencil on paper｜墨水、水彩、鉛筆於紙上，61 x 48.3 cm｜24 x 19 inches

 

《當在看心理醫生時》融匯於空間身貌中的人之身貌，則令人分不清整幅畫究竟是事過境遷後靜靜回味的淡褪心象，抑或此時此地的「我」面對心理醫生時，戴著濾鏡的主觀映像？畫面有限；空間、存在與可能卻無遠弗屆。正如匹可的《男子的隔離畫像》與《女子的隔離畫像》中，粗礪的黑線張牙舞爪地將其他色彩推擠至畫面表層之後，兩隻鮮活有神的眼睛卻如泥土捏塑的原始面具，帶著東南亞地震帶特有的火山能量，透出從古至今，人類追求自由的無畏與源源不絕的生機。而《隔離思緒系列（一）》裡，瀝青的描邊內，綠色植物、人類肢體、水裡游魚與無數無組織、無型態的圖像正在推擠、形變，於靜態的隔離中嘉年華般地舞蹈，將動態思維的矛盾、掙扎、焦慮顛弄於觀者眼前，呈現出一場暴烈的狂歡。

If the paintings of Darcy summon up a quiet carnival of authenticity, the carnivalesque of Kaspar Bonnén is poetic and of dialectic. It is like a flick of aura, a game of mirrors. On the one hand, spectators are compelled to question: is the whole picture a notebook, or the notebook in the picture the notebook? Or is the notebook in the notebook in the picture the true notebook inferred in the “Notebook”? On the other hand, in “At the Psychologist,” human’s visage is mixed with space’s visage, provoking people to contemplate: is it a blurred scene that the patient reflects on in the middle of the night? Or is it a scene distorted and filtered through the eyes of the patient here and now at the psychologist?

A picture has a frame; space, existence and their possibility have no frame, just as in Piko’s “Quarantine Portrait of a Lady” and “Quarantine Portrait of a Man,” rough black strokes push other colors to the back of the paintings. Yet, the two vibrant eyes like a clay, primitive mask reveal the unrestrained vitality of human spirits in the long course of time, with the volcanic energy specific in the South Eastern Asia’s earthquake zone. Likewise, in his “Quarantine Head Series 1,” inside the bitumen outline, the green plants, human bodies,swimming fish and unorganized, modeless images jostling and twisting expose the dynamic struggle, the contradiction and dancing in the static quarantine, representing a violent carnival before spectators’ eyes.

 

〈Enam Gunung｜六座山〉2020，Acrylic Bitumen Oil Bar Marker Relief Paint on Linen Blend，
壓克力、瀝青、油畫條、馬克筆、浮雕於亞麻混紡，160 x 150 cm｜63 x 59 inches

 

〈Dua Arah Tiga Sisi｜兩路三面〉2020，Acrylic Bitumen Oil Bar Marker Relief Paint on Linen Blend，
壓克力、瀝青、油畫條、馬克筆、浮雕於亞麻混紡，160 x 150 cm｜63 x 59 inches

 

內與外，主觀與客觀，想像與現狀。依亞拜迪歐．匹可、卡斯帕爾．波恩與布萊德．達西的作品分別以自己的個性與方式，衝破既存的結構、成見，描摹出兩者的交會與衝突，並於「之間」拓展出不受拘束的自由；照見彼此本真、拒絕被限的狂歡本質。正如巴赫金的對話理論所言：同時共存、相互為用、彼此聆聽的眾聲喧嘩，終將人們引至更開闊的天地上。

In their own way, the works of Iabadiou Piko, Kaspar Bonnén and Brad Darcy blow out the pre-existing structures and prejudices, catching the encounter and conflict at the boundary of the interior and exterior, subjective and objective, imaginative and realistic, and explore the freedom between respectively. They compare, contrast and clarify each other’s authentic and carnivalesque essence, as Bakhtin’s dialogism implies: the heteroglossia which coexist, complement and converse will open our eyes to a broader sight.

 

文章來源：Nunu Fine Art