Twisted Marks of Aura (2016-2018)
Drawing and painting form the foundations of fine arts. As a director, David's work is mostly digital in nature, and it drives him to paint in ways digital mediums cannot, and thus giving birth to the core elements of this exhibition. Although digital imagery and video have completely replaced film and paint and made sharing creative works easier than ever, David has never compromised his love for painting.
David has spent the last thirty years studying and practising calligraphy, design, visual arts and moving images, migrating and exploring between mediums and what they bring into his life of art. His works combine inspirations from the masters of different eras as well as his own muse, as if they join hands in sowing a mixture of seeds upon a canvas and growing them into his own unique style through twists and strokes, at the same time exemplifying the individuality and reincarnation of art's innate nature.
"Purification" is the heart and soul of art, and artists must pose an inquiry into the nature of art itself during the creative process to create his or her own unique artistic style. There are artists who do not pose such an inquiry and pursue conceptual tools that merely scavenge ideas into works. David strives to develop a style by genesis and constant purification as a way to experience art. He believes that craftsmanship is an indispensable part of visual arts, and the way art is created in the physical dimension between the brush and the canvas is the closest process to the creation of the Universe. By applying the principles of Chinese calligraphy to his painting approach, a new dimension of purification is created between the hairs, the space and the intention - he calls it Twisted Mark.
《TWISTED MARKS OF AURA》 comprises portraits born of the Twisted Mark purification style. The visual arts are ultimately grounded in human vision, and on the surface the subjects of the new works are faces that come with a primal urge to look and be looked. But what if we look past the surface of the outside shell and search for that something, that life, that light, that consciousness and that meaning that may exist somewhere within? Will the intention of purification reveal the face behind? Such is the inquiry posed by this body of work.
畫畫是視覺藝術修為的基本，而正因為導演的日常工作須經常以數碼方式去傳遞感觀訊息與視覺效果，驅使張天行以數碼做不到的部分作畫畫的目的，並成為今次畫展的主要元素。雖然，數碼化的相片與錄像已經完全取代舊有菲林模式甚至顏料，令分享與創作變得更方便直接，但他仍然希望以繪畫形式去追求藝術。
他於過往三十年間研習書法、設計、視覺藝術與動態影像，遊走於各種創作媒體之間，以藝術探索人生。他的畫作糅合了不同現代藝術大師的筆觸，並加上一己的創造，猶如以不同畫風的種子灑在畫布上一樣，在筆耕中栽種出獨創的風格，顯現出藝術本質上的自性與重生。
張天行認為"淨化"是藝術的旨趣所在，而藝術製作者在創作過程中須思考藝術的本質，追尋獨特的藝術風格；當今的藝術界有部分人以否定藝術的原始性為尚，製造一些概念而又不是探尋藝術本質的拾荒者式作品，而這，並不是他的取向。除了追求在作品中呈現淨化的境界，張天行本人更堅持以由無而成為有的繪畫形式來體驗藝術。他認為視覺藝術應有的手藝絕對不可m抹殺——畫筆與畫布的接觸面在三維空間製造立體與平面之間的質感這一種由零開始的藝術，比較貼近世界的開端；而當他在創作過程中嘗試扭動畫筆以呈現行書的行氣時，出現了一種近乎淨化境界的筆觸氣流：Twisted Mark。
《瓦解中的軀殼》正是一系列由Twisted Mark這種呈現淨化境界的單細胞衍生而來的肖像作品。視覺藝術是離不開觀看的，從內容層面而言，肖像畫畫的是人，而人與人之間亦有著一種對望的原始性。但當人撇去了原本的外貌，我們可以觀看到甚麼？人沒有了存在的軀殼，仍會存在某種物質、某種生命力、某種光體、某些意識及意義嗎？感知的面貌與藝術的淨化有否決定性的關聯？這都是今次的畫作所探索的課題。
David has spent the last thirty years studying and practising calligraphy, design, visual arts and moving images, migrating and exploring between mediums and what they bring into his life of art. His works combine inspirations from the masters of different eras as well as his own muse, as if they join hands in sowing a mixture of seeds upon a canvas and growing them into his own unique style through twists and strokes, at the same time exemplifying the individuality and reincarnation of art's innate nature.
"Purification" is the heart and soul of art, and artists must pose an inquiry into the nature of art itself during the creative process to create his or her own unique artistic style. There are artists who do not pose such an inquiry and pursue conceptual tools that merely scavenge ideas into works. David strives to develop a style by genesis and constant purification as a way to experience art. He believes that craftsmanship is an indispensable part of visual arts, and the way art is created in the physical dimension between the brush and the canvas is the closest process to the creation of the Universe. By applying the principles of Chinese calligraphy to his painting approach, a new dimension of purification is created between the hairs, the space and the intention - he calls it Twisted Mark.
《TWISTED MARKS OF AURA》 comprises portraits born of the Twisted Mark purification style. The visual arts are ultimately grounded in human vision, and on the surface the subjects of the new works are faces that come with a primal urge to look and be looked. But what if we look past the surface of the outside shell and search for that something, that life, that light, that consciousness and that meaning that may exist somewhere within? Will the intention of purification reveal the face behind? Such is the inquiry posed by this body of work.
畫畫是視覺藝術修為的基本，而正因為導演的日常工作須經常以數碼方式去傳遞感觀訊息與視覺效果，驅使張天行以數碼做不到的部分作畫畫的目的，並成為今次畫展的主要元素。雖然，數碼化的相片與錄像已經完全取代舊有菲林模式甚至顏料，令分享與創作變得更方便直接，但他仍然希望以繪畫形式去追求藝術。
他於過往三十年間研習書法、設計、視覺藝術與動態影像，遊走於各種創作媒體之間，以藝術探索人生。他的畫作糅合了不同現代藝術大師的筆觸，並加上一己的創造，猶如以不同畫風的種子灑在畫布上一樣，在筆耕中栽種出獨創的風格，顯現出藝術本質上的自性與重生。
張天行認為"淨化"是藝術的旨趣所在，而藝術製作者在創作過程中須思考藝術的本質，追尋獨特的藝術風格；當今的藝術界有部分人以否定藝術的原始性為尚，製造一些概念而又不是探尋藝術本質的拾荒者式作品，而這，並不是他的取向。除了追求在作品中呈現淨化的境界，張天行本人更堅持以由無而成為有的繪畫形式來體驗藝術。他認為視覺藝術應有的手藝絕對不可m抹殺——畫筆與畫布的接觸面在三維空間製造立體與平面之間的質感這一種由零開始的藝術，比較貼近世界的開端；而當他在創作過程中嘗試扭動畫筆以呈現行書的行氣時，出現了一種近乎淨化境界的筆觸氣流：Twisted Mark。
《瓦解中的軀殼》正是一系列由Twisted Mark這種呈現淨化境界的單細胞衍生而來的肖像作品。視覺藝術是離不開觀看的，從內容層面而言，肖像畫畫的是人，而人與人之間亦有著一種對望的原始性。但當人撇去了原本的外貌，我們可以觀看到甚麼？人沒有了存在的軀殼，仍會存在某種物質、某種生命力、某種光體、某些意識及意義嗎？感知的面貌與藝術的淨化有否決定性的關聯？這都是今次的畫作所探索的課題。