Fields behind Landscape 山水背田野

Fields behind Landscape, 2010

Lui’s painting with framed acrylic, paper cast vessels, plants, soil, wooden pedestal and two TV sets

366(L) x 108(W) x 180(H) cm

1^st video: http://www.youtube.com/watch?v=qGVEsSPU2zs

2^nd video: http://www.youtube.com/watch?v=QfAXq1gJRpg 

Lui Chun Kwong’s landscape paintings, first presented in 1993, have by now become a vast painting project spanning nearly two decades. Naming his Fo Tan studio “One Stroke Painting Factory” is, without doubt, a literal and fitting description.

In terms of broad stylistic classification, Lui’s work can be placed within Minimalism. What sets it apart is its exceptional purity. His palette is narrowed to the way flowing movement leaves traces on the canvas—less a mere simplification of imagery than a cyclical record of motion. As he himself has said, placing a single mark is like cultivating and tilling a field: both are about the beginnings and outcomes of all cycles in the universe.

Behind his landscape paintings, I search for land that can be tilled and sown. By casting paper moulds from the backs of wooden frames, I create basin‑shaped containers; through repeated casting, they can form an endless field. Upon this, I plant—unfolding anew the story that was once only a metaphor.

呂振光的一流山水自1993年發表，至此已是近20個年頭的龐大繪畫計劃。以一流畫廠命名其火炭工作室，無疑是一個名符其實的描述。

在大體的流派歸類上，呂氏的繪畫可列入極限主義內。有別於他者是，其繪畫比起他人都還要純粹。色彩收窄至如何在畫布上順應著流動留下訊息，非單純的形象簡化，更是一種周而復始的運動紀錄。正如他所言，立一點，亦像在田野上開墾耕作，都是關於宇宙中一切循環的開端及結果。

我在他的山水繪畫背後尋找可耕可種之地，以紙倒模木框後方形成盆狀容器，透過重複倒製可構成無盡的一畝田野。在之上栽種，將原來隱喻的故事重新鋪陳出來。