夾乙丙丁發個夢 • 陶畫對話

Dream Dialogue

 

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21 - 30 May 2017

 

展覽理念：

 

「夢」可以指夢想。夢想是人類對美好將來的憧憬、渴望和追求，是動力的泉源。

如前人夢想自己能翱翔天際，於是發明了飛機；夢想能潛入海底，於是發明了潛水艇。

 

「夢」也可以理解為夢境 :「日有所思，夜有所夢。」夢能啟動做夢者的創造力，讓其發揮無盡創意。夢的內容可以關於日常瑣碎事，也可以是超現實及具啟發性的。

 

弗洛伊德將夢解釋為人們深埋潛意識內的欲望和焦慮。榮格則將夢描述為來自潛意識的訊息，向做夢著揭示內心的情感和恐懼。榮格認為夢織成一張「心靈巨網」，夢中出現的每個人或事，其實是做夢者心靈的其中組成部分。

 

八位藝術家兼好友「夾乙丙丁」，自2014「夾乙丙丁搞展覽 – 一時一樣」後，再度聚首，構思再來齊齊搞展覽。夾乙丙丁在腦震盪創作主題時，大家都不謀而合希望能讓腦袋放個假，於是就選擇以「夢」做主題，一起來發個「夢」。

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八位藝術家，有人擅長色彩的塗抹，有人喜歡手捏陶泥的感覺。於是，兵分兩路，四位陶友與四位畫友，分別以陶瓷及繪畫創作，以陶與畫兩種不同媒介觸碰，看看能擦出甚麼樣的火花 ? 又能編織出甚麼「夢」的對話?  夢的內容繁複多樣，讓陶友與畫友有更大的發揮空間，而創作元素也較自由及廣泛。

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Exhibition Concept:

 

"Dream" can refer to aspirations. Dreams are humanity's yearning, desire, and pursuit of a better future - the wellspring of motivation.

 

For example, people dreamed of soaring through the skies, thus they invented airplanes; they dreamed of diving into the ocean, thus they invented submarines.

 

"Dream" can also be understood as a dream state: "What you think about during the day, is what you dream about at night." Dreams can activate the dreamer's creativity, allowing them to unleash boundless imagination. The content of dreams can be about everyday trivialities, or it can be surreal and inspirational.

 

Freud explained dreams as desires and anxieties buried deep in people's subconscious. Jung described dreams as messages from the subconscious that reveal the dreamer's inner emotions and fears. Jung believed dreams weave a "giant network of the mind," and every person or event appearing in a dream is actually a component of the dreamer's psyche.

 

Eight artists and friends who call themselves "One Two Fit Four" have reunited after their 2014 exhibition “ One Two Fit Four Joint Exhibition · Timeline”, to conceive another joint exhibition. When the artists were brainstorming a theme, they all shared the desire to give their minds a break, so they chose "dream" as the theme and set out to share a dream together.

 

Eight artists, some excel at applying colours, while others enjoying the tactile experience of sculpting clay.  They split into two groups: four potters and four painters. Working in the two different media of ceramics and paintings, they explored: What sparks might fly? What dialogues of "dreams" would they weave? The diverse and complex content of dreams gave the pottery and painting broad freedom to experiment, allowing for a wider range of creative elements.

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