Alixe Fu 傅慶豊
庭院 The Courtyard, 2006
Oil on Canvas
55 x 46 cm
18 1/8 x 21 5/8 in
18 1/8 x 21 5/8 in
“親愛的，把雞變成恐龍，把自己變成巨人…超越重覆推疊複製又複製的生命吧！” 傅慶豊的自由聯想、意念跳躍、瞬間情緒的藝術表現，可見到卡夫卡式的「無限地敞開自我」達到「靈魂裸露」、「身心交渾」的狀態。這種夢幻、非理性審美在表現主義中受到「超現實主義」強調，作為現代美學主要原則。 “Dear, turn the chicken into a dinosaur, turn yourself into a giant…go beyond the repeating life!’ Fu has always believed that expressing oneself at will is only the...
“親愛的，把雞變成恐龍，把自己變成巨人…超越重覆推疊複製又複製的生命吧！”
傅慶豊的自由聯想、意念跳躍、瞬間情緒的藝術表現，可見到卡夫卡式的「無限地敞開自我」達到「靈魂裸露」、「身心交渾」的狀態。這種夢幻、非理性審美在表現主義中受到「超現實主義」強調，作為現代美學主要原則。
“Dear, turn the chicken into a dinosaur, turn yourself into a giant…go beyond the repeating life!’
Fu has always believed that expressing oneself at will is only the liberation of a “small ego” for traditional modernist artists. By contrast, when placing an individual’s art expressions among public intervention and extension, it shows a public responsibility and sentiment as a public intellectual and artist with contemporary concepts, which is the true “large ego”.
傅慶豊的自由聯想、意念跳躍、瞬間情緒的藝術表現，可見到卡夫卡式的「無限地敞開自我」達到「靈魂裸露」、「身心交渾」的狀態。這種夢幻、非理性審美在表現主義中受到「超現實主義」強調，作為現代美學主要原則。
“Dear, turn the chicken into a dinosaur, turn yourself into a giant…go beyond the repeating life!’
Fu has always believed that expressing oneself at will is only the liberation of a “small ego” for traditional modernist artists. By contrast, when placing an individual’s art expressions among public intervention and extension, it shows a public responsibility and sentiment as a public intellectual and artist with contemporary concepts, which is the true “large ego”.
