女性藝術系列

婀娜:攝影展 

Bella Tam X 李佩禎 

Women Art Series

Light Elegance: a Photo Exhibition

Bella Tam X Pui Cheng Lei

有時我會望著右手背的手指公下方,有一條動脈的跳動顯而易見,黝黑的膚色,毛孔的繁多微細折痕擴散成網狀,圖騰之下是生命的流動實證,脈象代表這一刻的我在。Bella覺得人與植物很相似,在一個生物裡每抽取一少部份都代表整體的一部份,她喜歡與植物在一起,喜歡與她們一起做一件事。當在寧靜時候與花共存能感覺到她們,會有愛撫她們的慾望。紅掌花是這系列作品先看到的相片,純黑的背景前是絳紅的紅掌鶴立於此,被配帶了珠飾,將花重新塑造出另一種視覺詮釋,並且帶有兩性共存的象徵,Bella在拍攝初期並沒有意識到相片帶出了性暗示,但潛意識的慾望更真實的表達到Bella的本來面目。

所以她之後一直順應自己,自然的做作品,很多作品都與夢有關,發夢時看過的某個景像,之後再透過攝影塑造出來。女體一直是Bella創作的題材,最初的拍攝有場景有衣飾,最近這輯她以最純粹的肉體表現出來,而且是透過局部及動作的呈現,來感知當中的情緒,身體與植物的結合更是她最中心的表現,沒有強調女性身體,反而是不定義身體的女性特徵,敞開觀點的自由,任由觀眾去想像。
敞開重點不是擺脫思想或感受,而是不讓自己覺得固定在某個感知及空間,藉著敞開我們會發現,自己其實並不與任何事情對抗,而是讓它自然發生,不執著驗證,只要去感覺這份體驗。

佩禎最初想紀錄這個世界,所以選擇攝影這個媒界,她的相片多以藍色作主調,她說這種色調有自我療癒的感覺。不為作品作太多文字傳譯的她,喜歡拍攝不為人留意的牆邊草,在牆壁裂痕滋生出來,於潔淨鐵皮中逆境蓬生的雜草,舊屋頂藤蔓延生與純藍天空相映,她好奇自然可以在人造產物的隙縫中生長出來。女性人物是佩禎喜歡拍攝的題材,甚至成為她的職業,喜歡大自然及純淨的佩禎在這次展覽前,想著怎樣可以去表達女性這部份,她不設定一個特定的畫面,她與女模相約去選購花朵,在身體裸露的縫隙之中洐生出花朵。她這種無意識的配搭,剛好是把裂縫中的生命力,轉化成青春肌膚的純淨與美好花朵的共生,把遮蓋下的私處隱性呈現出敞開及接納。無獨有偶,佩禎與Bella差不多同期分別拍攝了女體私處與花的相片。所有萬物都有一種特定的振動頻率,頻率可以影響頻率,同頻共振,同質相吸。

我把這次兩組女女配的攝影展覽以《女性藝術系列》呈現,再以兩個女字旁的名稱「婀娜」與「嬝娜」作為展覽題目,以女性的觀點去看性別,是想讓觀眾更明確的理解,也可以說是一種分類,再長遠計是有延續性的概念,事情還未完,現在只是開始。

策展人

​施援程

開幕 Opening : 14/7 4pm
講座 Talk :14/7 5 pm
「肉身是最赤裸的真實」
——女性身體經驗的呈現、重構與再想像
“The body is the most naked truth.” 
– Embody and recreate: the understanding of female body.
主講 Speaker :袁紹珊 Un Sio San, Susanna
策展人 Curator : 施援程 Si Wun Cheng, Cora

展期 Extension period:15/7 ––– 21/8/2018
開放時間:中午十二時至晚上七時(逢星期三休館)
Opening Hours : noon - 7:00pm (except on Wednesday)
At Light——澳門卑第圍1號地下
At Light – Pátio do Padre Narciso nº 1, R/C, Macau

免費入場 Free Admission
查詢 Enquiries : +853 6595 7203
電郵 Email : aelartmo@gmail.com

主辦 Organizer:弘藝峰創作社 Arts Empowering Lab
贊助 sponsor:文化局 Instituto Cultural
場地贊助 Venue sponsor:At Light

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facebook.com/AELartMO
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Sometimes I will look at the back of the thumb of my right hand, and see an artery clearly pulsating. The dark complexion, the numberless subtle ridges spread and become a network. Under this totem is the flow of life. The pulsating represents my very existence at this exact moment. 

Bella thinks that humans are very similar to plants. Every single part of a creature represents a part of the whole being. She likes to be with plants and do something with them. When staying with the flowers in peace, she can feel them, and desire to caress them. Red flamingo flowers (Anthurium), decorated with earrings, standing against a stark black background, is the first photo of the collection, presented in a new visual interpretation, the flower as a symbol of two-gender coexistence. At the start of the project, Bella did not realize the photo's sexual connotations but the subconscious desire implied truly expresses Bella's self. 

In fact, she has always followed her own instincts, naturally creating works, with many of them associated with dreams. She dreams about certain scenes and then represents them through photography. The female body has always been Bella's creative subject. Originally, she used scenarios and costumes, but recently she just presents the body in its purest form, using body parts and movement, so as to reveal inner emotions. That shows her expressional willingness to blend body and plants. By not emphasizing the female body she keeps feminine characteristics undefined, thus setting the conceptual idea free and open to viewers’ interpretation. In doing so, she is not curtailing thoughts or perceptions, but just getting rid of the feeling of attachment to a certain perception or space. Through this openness we come to discover that, we actually are not confronting anything, but let it happen naturally, without insisting on verifying, but merely to ‘feel’ the experience. 

On the outset of her artistic pursuit, Pui Cheng wanted to record the world, so she chose the medium of photography. The tone of her photos is mostly blue, which for her is a color giving off a feeling of self-healing. Without loading her works with too many texts, she likes to shoot the grass on wall seldom noticed by people. It grows improbably in the crevices of the walls, or out of the clean iron sheets; the creepers contrasting with a pure, blue sky leave her in awe: how can nature grow out of the crevices of man-made products. Pui Cheng likes shooting female characters, which becomes her creative focus in her career. As a person liking nature and purity, she pondered on how to present this side of women's body. She did not design a specific scenario; she invited the female model to go buy flowers with her, producing flowers in the naked gaps of the body. This subconscious matching of flower and body is precisely to transform the vitality in the (bodily) cracks into the symbiosis of the purity of youthful skin and beautiful flowers, thus showing a kind of openness and acceptance by stealthily exposing the private parts under the flowery cover. Coincidentally, Pui Cheng and Bella took photos of the female private parts and flowers in the same period. This may prove that all creatures have an inner vibration frequency that influences each other: similar frequency and same-minded people are thus attracted to each other. 

This time, I present the two photographic exhibitions by two women in the name of Women Art Series, using "Light Elegance" and "Slender Grace" as their respective Chinese titles, with all the four Chinese characters starting with a radical "female" . In doing so I intend to look at gender issues from women’s standpoint, while also allowing viewers to grasp the concept more clearly. It can also be construed as a kind of classification. In the long run, I would like to continue to explore the concept. Things are just getting started... 

Si Wun Cheng, Cora
Curator

開幕及講座相片 |Opening and talk photos :
https://www.aelart.com/news/light-elegance-1
​媒體報導 |News report:

FOTOGRAFIA NO FEMININO PARA REFLECTIR SOBRE OS PROBLEMAS DE GÉNERO

澳門論壇報,jtm.com.mo,16 JUL, 2018

婀娜:攝影展——Bella Tam X 李佩禎

澳門日報,2018 年9月1日,第C07版:攝影

Exposição | Fotografia no feminino na Galeria At Light até 21 de Agosto

Hoje Macau,SOFIA MARGARIDA MOTA,24 Jul 2018,em Eventos

談瑞婷 X 李佩禎 她們與她的事情

Project Raw

李佩禎。現職全職攝影師,在狹縫中求生存,喜歡拍攝一些被遺忘的角落、將被遺忘的片刻、或是就只是「當下」。攝影,對自己來說是內在和外在世界連結的某種方式,定格刺中心臟的畫面,攝下某種情緒、某些粒子、光或空氣,貪心地希望將那稍縱即逝的瞬間留下,收藏變成自己曾和它們相遇的證據。


Pui Cheng Lei, As a full-time photographer, Lei is now finding subsistence in narrowness and often captures the forgotten places, moment or the present. Photography to Lei is some kind of connection where the within and the without meet, those unknown senses, fragments, light and breath, all withhold the heart touching scene. She eagerly wanting these fading moments to stay, regard as the evidence of how she and the world encounter.

李佩禎作品 
Pui Cheng Lei works

《縫生》


在平凡無奇的角落,
生命與時光並行。
在不知不覺間,
以自己的速度,
循著裂縫尋光而生,
演繹生命的本然。

‘The living seam’
Life and time parallel
in some ordinary places.
Gradually without knowing,
Pacing in their own way;
Chasing cracks to the sun.
Play on, the simplicity of life.

Bella Tam,談瑞婷,出生並成長於澳門,大學時期主修英語文學。信奉自然,認為一切皆有其語言。現為自由攝影師。


Bella Tam, Tam Soi Teng. Born and raised in Macau, majored in English Literature during university, a worshiper of nature who sees all beings have its own sublime language. Currently creating an organic harmony.

Bella Tam 作品 
Bella Tam works

Nature Morte

即法語‘靜物畫’(Still Life),意謂死去之物。人對事物的理解不存在客觀性空間,當事物發生,物與物會產生出新的語言,花便不再是花,身體不再是身體,而平等共生地存在。攝影將一刻的生命時間化成物理影像,超越線性軌跡,唯有如此嘗試理解人與物本身。
The French term for still life, meaning ‘dead nature.’ Since objective space doesn’t exist in human’s perspective, all beings will begin to create a new language within dialogues; flower ceases to be a flower, a body and the flesh, they become equals coexisting in its own right and space. Photography turns this glimpse of time and life into physical images which transcend linear pathway, only in the attempt to understand the ambiguity between the living and the dead.