痕 Traces
《痕》之二
雙聯作品《痕》始於右幅。墨沿著筆落下，在濕透的紙上流淌，和水互相沖刷，緩緩地形成一道道如河流般的痕跡，露出蒼白處如茫然的記憶。水是為載體，讓墨痕伴隨記憶被儲存於濕透的紙張疊層之中。
熊輝接著於畫面上蓋以一張白紙並輕輕撫平，觸碰之處隨即冒出斑斑墨跡。然後他用一支無墨的硬筆，沿著鐵尺畫下一行行透明的線。那些線無色，卻遺下了物理壓痕。筆尖所到之處，紙的表層猶如被劃破般滲出疊層下的墨痕，被隱沒的痕跡在行行劃痕中重新浮現，並與新的印痕互相纏繞、轉化、交疊。
最後，紙張疊層被翻開，像鏡象般並置左右，但上下對倒，如映入水中的倒影。
整個繪畫的過程中紀錄了水與痕跡和記憶之間的轉化和關係。
雙聯作品《痕》始於右幅。墨沿著筆落下，在濕透的紙上流淌，和水互相沖刷，緩緩地形成一道道如河流般的痕跡，露出蒼白處如茫然的記憶。水是為載體，讓墨痕伴隨記憶被儲存於濕透的紙張疊層之中。
熊輝接著於畫面上蓋以一張白紙並輕輕撫平，觸碰之處隨即冒出斑斑墨跡。然後他用一支無墨的硬筆，沿著鐵尺畫下一行行透明的線。那些線無色，卻遺下了物理壓痕。筆尖所到之處，紙的表層猶如被劃破般滲出疊層下的墨痕，被隱沒的痕跡在行行劃痕中重新浮現，並與新的印痕互相纏繞、轉化、交疊。
最後，紙張疊層被翻開，像鏡象般並置左右，但上下對倒，如映入水中的倒影。
整個繪畫的過程中紀錄了水與痕跡和記憶之間的轉化和關係。
Traces II
The creation of this diptych begins from the right panel. Ink dripped down the pen, flowed onto the soaked paper, pushed and scrapped against the water, slowly forming passages of traces akin to rivers, where the exposed white space recalls dazed memory. Water is deemed as a carrier, whereby traces of ink embedded with memories are stored within the stacks of soaked paper.
Hung Fai then covered the surface with a blank sheet, smoothened it by tapping gently on the top. Upon every touch, spots or puddles of ink emerged. Afterwards, Hung used a pen which had run out of ink to draw lines along a straight metal ruler. Albeit colourless, the lines were left as physical furrows, where the sunken ink marks leaked and burst as if the surface had been slashed open. Through these incisions what had been concealed was retrieved, and then interwove, transformed and overlapped with the myriad of new marks.
Lastly, the layers of paper were unfolded, placed side by side as in mirror images, with one panel’s orientation inverted resembling reflection in water.
The whole process recorded the transformation and relationships of water, traces and memories.
The creation of this diptych begins from the right panel. Ink dripped down the pen, flowed onto the soaked paper, pushed and scrapped against the water, slowly forming passages of traces akin to rivers, where the exposed white space recalls dazed memory. Water is deemed as a carrier, whereby traces of ink embedded with memories are stored within the stacks of soaked paper.
Hung Fai then covered the surface with a blank sheet, smoothened it by tapping gently on the top. Upon every touch, spots or puddles of ink emerged. Afterwards, Hung used a pen which had run out of ink to draw lines along a straight metal ruler. Albeit colourless, the lines were left as physical furrows, where the sunken ink marks leaked and burst as if the surface had been slashed open. Through these incisions what had been concealed was retrieved, and then interwove, transformed and overlapped with the myriad of new marks.
Lastly, the layers of paper were unfolded, placed side by side as in mirror images, with one panel’s orientation inverted resembling reflection in water.
The whole process recorded the transformation and relationships of water, traces and memories.
《痕》之二,Traces II, 180x194cm, 水墨紙本 Ink on paper, 2020
《痕》之一 Traces l, 2020, 水墨紙本 Ink on paper, 98x363cm
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