Hung Fai 熊辉, Wai Pong-yu 韦邦雨
Same Line Twice 25, 2020
ink and color on paper 水墨设色纸本
38 1/4 x 38 1/4 in
97 x 97 cm
97 x 97 cm
Copyright The Artist
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Title: Same Line Twice 25 Dates: June 18 – 22, 2020 Location: Wai Pong-yu’s studio, Wong Chuk Hang Participants: Hung Fai, Wai Pong-yu Tools and materials: unsized xuan paper, black...
Title: Same Line Twice 25
Dates: June 18 – 22, 2020
Location: Wai Pong-yu’s studio, Wong Chuk Hang
Participants: Hung Fai, Wai Pong-yu
Tools and materials: unsized xuan paper, black and color ink pens, crayons, watercolor pigments, Chinese brush, colored pencils, compass, metal ruler, rocks.
For the first time in Same Line Twice, the artists tackle color as a primary problem. In Wai’s overly air-conditioned studio, they huddle together in jackets and blankets, surrounded by a large array of crayons, color pencils, and various pigments that recall their earliest memories of drawing. Working side by side on a small square sheet, which has no predetermined orientation, they rotate it from corner to corner as they iteratively construct map-like and architectonic forms and negotiate their irreconcilable approaches to color. For example, in Wai’s understanding, Hung is satisfied with the tonal gradation of ink alone but indifferent to polychromatic harmony or contrast, or the emotional and expressive value of color. Wai thus feels compelled to nuance Hung’s color lines.
日期：2020年6月18 - 22日
地点：韦邦雨黄竹坑工作室
参与者：熊辉、韦邦雨
工具和材料：生宣，黑色和彩色墨水笔，蜡笔，水彩颜料，毛笔，彩色铅笔，圆规，铁尺，石头
艺术家们首次以颜色作为主题创作。在韦邦雨空调过强的工作室，两位艺术家披着外套和毛毯，在小小的方形宣纸上埋头创作。桌上摆满蜡笔、木颜色等各种颜料，勾起了他们年幼时最初接触艺术的回忆。因为方形构图并没有预设方向，他们不断转换视角，逐步建立一系列环环紧扣，像地图、建筑物、电子零件的的结构，并在双方对颜色的迥异理解之中寻求共识和突破。比如韦邦雨认为熊辉注重“墨分五色”而对色彩的和谐和情感表现力漠不关心，不得不对熊辉的颜色线条进行调整和修饰。
Dates: June 18 – 22, 2020
Location: Wai Pong-yu’s studio, Wong Chuk Hang
Participants: Hung Fai, Wai Pong-yu
Tools and materials: unsized xuan paper, black and color ink pens, crayons, watercolor pigments, Chinese brush, colored pencils, compass, metal ruler, rocks.
For the first time in Same Line Twice, the artists tackle color as a primary problem. In Wai’s overly air-conditioned studio, they huddle together in jackets and blankets, surrounded by a large array of crayons, color pencils, and various pigments that recall their earliest memories of drawing. Working side by side on a small square sheet, which has no predetermined orientation, they rotate it from corner to corner as they iteratively construct map-like and architectonic forms and negotiate their irreconcilable approaches to color. For example, in Wai’s understanding, Hung is satisfied with the tonal gradation of ink alone but indifferent to polychromatic harmony or contrast, or the emotional and expressive value of color. Wai thus feels compelled to nuance Hung’s color lines.
日期：2020年6月18 - 22日
地点：韦邦雨黄竹坑工作室
参与者：熊辉、韦邦雨
工具和材料：生宣，黑色和彩色墨水笔，蜡笔，水彩颜料，毛笔，彩色铅笔，圆规，铁尺，石头
艺术家们首次以颜色作为主题创作。在韦邦雨空调过强的工作室，两位艺术家披着外套和毛毯，在小小的方形宣纸上埋头创作。桌上摆满蜡笔、木颜色等各种颜料，勾起了他们年幼时最初接触艺术的回忆。因为方形构图并没有预设方向，他们不断转换视角，逐步建立一系列环环紧扣，像地图、建筑物、电子零件的的结构，并在双方对颜色的迥异理解之中寻求共识和突破。比如韦邦雨认为熊辉注重“墨分五色”而对色彩的和谐和情感表现力漠不关心，不得不对熊辉的颜色线条进行调整和修饰。
