Hung Fai 熊辉, Wai Pong-yu 韦邦雨
Same Line Twice 22 转生22, 2020
ink on paper 水墨纸本
142 1/2 x 42 1/8 in
362 x 107 cm
362 x 107 cm
Copyright The Artist
Further images
-
(View a larger image of thumbnail 1
)
-
(View a larger image of thumbnail 2
)
-
(View a larger image of thumbnail 3
)
-
(View a larger image of thumbnail 4
)
-
(View a larger image of thumbnail 5
)
-
(View a larger image of thumbnail 6
)
-
(View a larger image of thumbnail 7
)
-
(View a larger image of thumbnail 8
)
-
(View a larger image of thumbnail 9
)
-
(View a larger image of thumbnail 10
)
-
(View a larger image of thumbnail 11
)
-
(View a larger image of thumbnail 12
)
-
(View a larger image of thumbnail 13
)
-
(View a larger image of thumbnail 14
)
Title: Same Line Twice 22 Dates: May 21 – June 7, 2020 Location: Hung Fai’s studio, Chai Wan Participants: Hung Fai, Wai Pong-yu Tools and materials: unsized xuan paper; black...
Title: Same Line Twice 22
Dates: May 21 – June 7, 2020
Location: Hung Fai’s studio, Chai Wan
Participants: Hung Fai, Wai Pong-yu
Tools and materials: unsized xuan paper; black ink pens; metal ruler; electric blow-dryer and iron; plants; laundry and towels.
Size: 362 x 107 cm
Interaction: both artists sit on the near long side of the paper. After drawing a line across its entire width, each gains a chance to move over to the other side and perform a daily activity that changes the paper’s wetness.
The artists work on an extra-long sheet of xuan paper to simulate Wai’s narrow studio. Shuttling left and right on rolling chairs along the paper’s bottom edge, they limit the composition to their arms’ reach. During the first half of the multi-day drawing process, the paper’s width entails a slower rhythm, with the artists spending much time in their respective halves and rarely meeting in the middle.
The meetings take on a special significance because of the artists’ agreement to control the paper’s moisture through ritual roleplay. Only after drawing a line across the entire width of the paper does each artist earn an opportunity to conduct a daily activity on the far side—watering plants in Hung’s case, and washing and drying clothes in Wai’s. Thereby each artist periodically and temporarily transports himself away towards a different state of mind.
Towards the top half of the composition, the artists roam more freely, interweaving and extending each other’s lines. The drawing unavoidably tends towards a landscape: the washes appear as mist and clouds, the lines as waves and mountains. The artists disrupt the illusionistic suggestion with assertive surface marks like scratches, hatching, and long ruled lines, but also welcome it as a pleasant surprise. Returning from our boat trip to Hong Kong’s southern waters (see the following entry), they discover almost identical scenery here.
日期：2020年5月21日 – 6月7日
地点：熊辉柴湾工作室
参与者：熊辉、韦邦雨
工具和材料：生宣、黑色墨水笔，铁尺、电吹风机、电熨斗、植物、衣物、毛巾
尺寸：362 x 107 公分
艺术家以一张极长的宣纸来模拟韦邦雨狭窄的工作室。他们坐在滚轮椅上，沿着纸张的底边来回穿梭，将构图限制在手臂的范围内。纸张的尺幅意味着艺术家多半时间都处于各自的一半，较少在中间会合。
这些会合被赋予特殊意义，也因为艺术家约定必须在画过一条横跨整张纸的线后，才有机会在画面另一方进行一项日常活动，来控制纸张的干湿。熊辉选择给植物浇水，韦邦雨则选择洗涤、烘干、熨斗衣服。艺术家尝试以日常生活的仪式，将自己抽离到另一种心境。
在构图的上半部分，艺术家们更加自由地游走，线条相互交织、延伸。尽管他们以划痕、拓印、直线平面痕迹等抵消山水暗示，构图中却不断涌现出海浪、岛屿、云烟等山水元素，更和几天后经历的香港南区海景惊人地相似（见下文）。
Dates: May 21 – June 7, 2020
Location: Hung Fai’s studio, Chai Wan
Participants: Hung Fai, Wai Pong-yu
Tools and materials: unsized xuan paper; black ink pens; metal ruler; electric blow-dryer and iron; plants; laundry and towels.
Size: 362 x 107 cm
Interaction: both artists sit on the near long side of the paper. After drawing a line across its entire width, each gains a chance to move over to the other side and perform a daily activity that changes the paper’s wetness.
The artists work on an extra-long sheet of xuan paper to simulate Wai’s narrow studio. Shuttling left and right on rolling chairs along the paper’s bottom edge, they limit the composition to their arms’ reach. During the first half of the multi-day drawing process, the paper’s width entails a slower rhythm, with the artists spending much time in their respective halves and rarely meeting in the middle.
The meetings take on a special significance because of the artists’ agreement to control the paper’s moisture through ritual roleplay. Only after drawing a line across the entire width of the paper does each artist earn an opportunity to conduct a daily activity on the far side—watering plants in Hung’s case, and washing and drying clothes in Wai’s. Thereby each artist periodically and temporarily transports himself away towards a different state of mind.
Towards the top half of the composition, the artists roam more freely, interweaving and extending each other’s lines. The drawing unavoidably tends towards a landscape: the washes appear as mist and clouds, the lines as waves and mountains. The artists disrupt the illusionistic suggestion with assertive surface marks like scratches, hatching, and long ruled lines, but also welcome it as a pleasant surprise. Returning from our boat trip to Hong Kong’s southern waters (see the following entry), they discover almost identical scenery here.
日期：2020年5月21日 – 6月7日
地点：熊辉柴湾工作室
参与者：熊辉、韦邦雨
工具和材料：生宣、黑色墨水笔，铁尺、电吹风机、电熨斗、植物、衣物、毛巾
尺寸：362 x 107 公分
艺术家以一张极长的宣纸来模拟韦邦雨狭窄的工作室。他们坐在滚轮椅上，沿着纸张的底边来回穿梭，将构图限制在手臂的范围内。纸张的尺幅意味着艺术家多半时间都处于各自的一半，较少在中间会合。
这些会合被赋予特殊意义，也因为艺术家约定必须在画过一条横跨整张纸的线后，才有机会在画面另一方进行一项日常活动，来控制纸张的干湿。熊辉选择给植物浇水，韦邦雨则选择洗涤、烘干、熨斗衣服。艺术家尝试以日常生活的仪式，将自己抽离到另一种心境。
在构图的上半部分，艺术家们更加自由地游走，线条相互交织、延伸。尽管他们以划痕、拓印、直线平面痕迹等抵消山水暗示，构图中却不断涌现出海浪、岛屿、云烟等山水元素，更和几天后经历的香港南区海景惊人地相似（见下文）。
