來自美國加州的藝術家Elizabeth Briel 為她最新作品「通風畫」個人展覧開幕。
Briel在此系列中的做法一直是將香港及其建築視為版畫製作的基礎，特別是用壓紋技術。
她不用機器進行打印，也不造印刷版進行複製，而是直接將自己的身體和紙張包裹在大流行期間保護她的舊式建築中，直接在城市中進行印刷，該建築物將在未來幾年內被摧毀。由此產生的盲目浮雕作品以皮膚、紙張和金屬匯合，直接揭露瀕危的保育建築。
印刷品用水溶性石墨手工著色，並直接附着在牆上。紙張是稀薄的宣紙，並且印刷品會隨着空氣的流動而移動，因此被稱為「通風畫」。這種短暫的實質性產生了關於城市和世界通量的實際記錄，如果在任何其他時間或地點進行，將不會具有相同的共鳴。
Briel 出色的藝術以光、時間和機會創造。 她些藝術品通過捕捉太陽的紫外線或風、我們日新月異的生活以及無處不在的歸屬感來紀錄時間的流逝。
展覽至5月12日
Xevarion Institute/Catalyst
香港上環普仁街2號
藝術家5月9日星期日下午2-6時出席
網站：ebriel.com
Elizabeth Briel, an artist from California, kicks-off the solo exhibition of her latest work – Ventilation Paintings.
Briel’s approach for this series has been to view Hong Kong and its architecture as matrices for printmaking, specifically embossing.
Instead of printing with machines, or creating printing plates for reproduction, she prints directly from the city itself, by wrapping her body and paper around the vintage architecture that has protected her during the pandemic, inside a building which will be destroyed in coming years. The resulting blind embossed work is a direct impression of architectural heritage under threat, and a meeting of skin, paper, and metal.
Prints are hand-tinted with water-soluble graphite, and are attached directly to the wall. The paper is thin “rice paper”, and prints move with passing air, thus the name “Ventilation Paintings”. This transient materiality produces a physical documentation of a city and world in flux that would not have the same resonance if made in any other time or place.
Briel’s art is brilliantly created with light, time, and chance. The artworks document the passage of time by capturing the sun’s UV rays or wind, our fast-changing lives, and a sensation of belonging nowhere yet anywhere.
Exhibition through 12 May at
The Xevarion Institute/Catalyst
2 Po Yan St, Sheung Wan ,Hong Kong
Artist present 2-6 pm Sunday May 9
Website: ebriel.com
