Painting On and On 5. Taciturn

25 October – 23 November 2013
Mon – Sat, 1000 – 1900
HKICC Lee Shau Kee School of Creativity, 135 Junction Road,
Lok Fu, Hong Kong

Your book is a book of silences. You managed to do the most difficult of all things: to keep silent; ─ so that all thoughts are in the spaces between the lines. ──Mallarmé told Gide, February 1891

‘What do you want to express through your paintings? Can you elucidate further?’ To the Taciturn artists, such question is regarded out of context, for whoever as a viewer has such consideration would be distanced from the truthful appreciation and deciphering of the artwork. Their paintings are quiet, unexciting, not entertaining and even too vague to be comprehended. Yet, such notion for creative productions is not completely static which made without a stance.

Taciturn does not regard painting as a medium or a narrative tool, nor does it carry any concept or meaning. The Taciturn painters believe the charisma of the painting itself. They pay much more attention to the practice and the process of painting, and also the relationship between the artistic creations and the self. They are not willing to see painting overloaded with content, or that being exaggerated by verbal explanation. They choose to work quietly as a way to demonstrate their attitude and concern for the living world.

If ‘expression’ is an additive act, then Taciturn is a non‐additive practice of ‘non‐expressive“expression”’. For the consistent practices of such ‘non‐expressive “expression”’, the artists position themselves in a state of self‐control and self‐mastery, so to make their creative practices approximate to the ascetics of the self.

Local artist‐run project Painting On and On will present their fifth exhibition entitled Taciturn in October 2013 with the co‐organizer HKICC Lee Shau Kee School of Creativity. Eight participating artists include AU Hoi Lam (convener), Gaylord CHAN, KO Sin Tung, KONG Chun Hei, LEE Kit, LUI Chun Kwong, Frank VIGNERON, and WAI Pong Yu. One of the objectives in the launching of the exhibition and the public lecture is to prepare audiences to appreciate non‐static but silent artworks. In face of the Taciturn paintings, we do not have to be too rational or to urge ourselves to excavate the hidden meanings. We may take the initiatives to embrace the artworks by our heart. We should better stop questioning, be taciturn sometimes, be talkative some other time.