文/ 蕭瓊瑞
1993 年的個展,形式上就進入某種統整的階段,以「憂媺的風與景」為題的系列作品, 採取橫長如國畫長卷般的形式,讓一些狀如生物、又形如風景的符號,舖陳開來......。這是李 氏風格開始建立的時期,之前較為情緒性的抒發,在此也開始變得較為深沈。在展出的序言中, 他寫道:
「被冠上『憂鬱』『美善』的風景環境現象,是不單純的多向性結合而導致的;人為的因素 是不用說了;但,身為一位以創作自居的人,必然要意識到,而不能一昧地逃避,必須完全地呈 現自己所看、所思、所想。
美麗的風景、裸女、靜物,真的值得一位創作者花一輩子的時間去畫它嗎?畫一張、一百張、 一萬張 ......它的意義在哪?純為一種美感?是情有獨鍾?是為留住優美的景色、裸女、靜物?所 以要拼命製造、生產?
一切的問題是那樣的讓我感到納悶 : 可能畫一批一系列的作品更是要深思質疑。身為創作者 不能沒有自覺。一昧地去做一件反覆沒有生命力可言的作品。倘若沒有自覺到,必定會導致扼殺 創作的生命及可能性。
美好漂亮的景色、裸女、靜物固然讓人感到喜悅。但,需要那樣多的人製作那樣多的作品 來滿足那樣多的人嗎 ? 可能這答案是肯定的 ? 也可能是否定的 ? 更可能是無解的 ? 如此的虛無狀 態更是值得我們深思。」
During the 1993 exhibition, he developed his integration of art forms with the series called "You Wei de Feng Jing" (The Gloomy side of Life) which incorporated the traditional Chinese horizontal scroll like painting style. During this stage of his life, his work contained many micro organism like symbols. This was the beginning of the Lee-Style period. In this period, his prior emotional feelings were replaced with a new profound thinking behind the scene.
In his prelude for his exhibition, he wrote:
"No doubt it is in human nature to create beautiful and melancholic landscapes with multi-tropism involved, but to be truly creative, one must realize that there is no limit in presenting one's own candid views and thoughts in one's works. Are these landscapes, nudes, still lifes, really worth an artist's lifetime's work? Does it matter if the artist paints hundreds or thousands of these paintings? Is there a meaning of beauty for painting these redundant forms of art, or is there really a personal reason for retaining the natural beauty in these paintings that the artist continues to paint them?"
He continued:
"All these questions cause me to ponder over my next series of works. A truly creative artist cannot paint without a conscience. Painting without a conscience leads to dull and lifeless paintings with no vitality! These perfect but repeating paintings no doubt please the majority of the world, but do we really need to please the majority? Perhaps we should, and perhaps we shouldn't. Or maybe we shouldn't answer at all. Such a delicate question requires more discussion."
憂媺的風與景(一 )Graceful Scenery I 1993 布上油彩 Oil on canvas 90.5X232.5cm
憂媺的風與景(二 )Graceful Scenery II 1993 布上油彩 Oil on canvas 90.5X232.5cm
憂媺的風與景(三 )Graceful Scenery III 1993 布上油彩 Oil on canvas 90.5X232.5cm
憂媺的風與景(四 )Graceful Scenery IV 1993 布上油彩 Oil on canvas 90.5X232.5cm
憂媺的風與景(五 )Graceful Scenery V 1993 布上油彩 Oil on canvas 90.5X232.5cm