YESART

                             

Artists|藝術家

邵曉露 / Lourdes Salcedo Tavira

多彩與富幻想的敘事方式,畫面表現出強烈的人文關懷與慈悲心
A narrative that’s full of color and fantasy, in Tavira’s paintings one can see a strong display of humanity and a sympathetic heart.


Lourdes Salcedo Tavira是位來自西班牙馬德里的畫家,長年居住於台灣並且是一位道地的台灣媳婦。Tavira在藝術方面的素養來自幼時以來對音樂的愛好,大學時期她在西班牙馬德里的University of Alcalá de Henares獲得了音樂學位文憑。
 
大學畢業後,Tavia離開西班牙展開了她在許多不同國家工作的職涯生活,並進入了一個新的領域成為一位科技產業分析師。經過多年歷練,她成為了新興科技的專家且搬至台灣於全世界最棒的科技研發育成機構- 工業技術研究院(工研院ITRI)工作。
即便如此,Tavira從未放棄她自小到大對藝術的熱誠。結束多年的科技工作後,Tavira決定投身成為一個專業的藝術家。Tavira的畫作曾在倫敦許多的藝術博覽會和展覽館展出,二年前在台北當代藝術館(MOCA)舉辦了成功的個展。
 
身為一位對色彩敏銳又感性的女性藝術家,Tavira運用她獨特畫風自然的融合了社會的複雜,表現現實的扭曲並以抽象的方式表達她的情緒和感受。她還發現了互動多媒體的裝置對於觀眾非常地有吸引力,藉由互動的裝置激發觀眾的參與和思考,更能體會捕捉到她畫作想傳達的本質。


 
Lourdes Salcedo Tavira is a Spanish artist, from Madrid, who married a Taiwanese and permanently resides in Taiwan. Tavira’s predisposition to the arts showed early on through a childhood of musical inclination, leading her to receive a Diploma in Music from the University of Alcalá de Henares, Madrid, Spain.

After finishing University, Tavira left Spain to work in many different countries and enter into a new career path as a Technology Analyst. After many years in this field, she became an expert in Emergent Technologies and moved to Taiwan to work for the best incubator in the World, ITRI.
However, Tavira never abandoned the passion for art that has been with her since her childhood. After many years in the technology field she finally decided to step out to become a professional artist. Tavira’s works has been exhibited in several Art Fairs and exhibitions in London, and two years ago had a very successful solo exhibition at MOCA Studio in Taipei.

As a female artist with an outstanding sense of color and sensitivity, Tavira naturally identifies with the complexity of our society and her unique painting style uses the distortion of reality and abstraction to express her own moods and feelings. She also finds the inclusion of media and installation very appealing and experiments with inciting the audience’s participation and contemplation, in order to capture the essence of her artistic message.
藝術家之苦

藝術家之苦 An Artistic Pain

邵曉露 Lourdes Salcedo Tavira
108x71cm
NTD 180,000
哀傷的女

哀傷的女 The Sad Girl

邵曉露 Lourdes Salcedo Tavira
135x84cm
NTD 250,000
大海中

大海中 Inside the Ocean

邵曉露 Lourdes Salcedo Tavira
75x62cm
NTD 180,000
陌生人來敲門

陌生人來敲門 When a Stranger Knocks at Your Door

邵曉露 Lourdes Salcedo Tavira
0x0cm
NTD 300,000
作夢

作夢 Dreaming

邵曉露 Lourdes Salcedo Tavira
63x76cm
NTD 170,000
年華老去

年華老去 Getting old

邵曉露 Lourdes Salcedo Tavira
59x76cm
NTD 160,000

善良的Tavira,她的愛心,留在畫布上                                  龎均Pang Jiun

 
我 認識Tavira大約有一、兩年了,她是一位西班牙年輕的女畫家,出生在GUADALAJARA一個有很多美麗古堡的小城,在UNIVERSIDAD DE ALCALA DE HENARES 大學就讀音樂教育EDUCACION MUSICAL ,但是她熱愛繪畫,就這樣走上藝術家的道路,找到了自己真正的人生。
Tavira是一位令人感到親切的女子,最初交談似乎一見如故,她心地善良, 天真浪漫,愛上了一位東方男子,來到了台灣,看不出已是兩個孩子的媽媽,現在又是三個孩子的媽媽,還是那麼美麗,言談稍帶孩子般的稚氣,她的丈夫程懷昌先 生,文質彬彬,Tavira 說:「愛他有一顆善良的心」。說到這裡就可以想像Tavira會畫怎樣的畫,她畫如其人:是美麗的、善良的、浪漫的、幻覺的、符號的、抽象的、人性的,很 有形式感,但不是空洞的,是她所看到的世界,心中的感受組合在抽象造型和色彩之中。
我雖然與她是完全不同的畫路,但我喜歡她的畫,完全能接受她畫 中的感覺,其實就是有個「真」字,很真誠,畫畫很自然,不刻意,又有故事在其中,聽她講畫中的想法,故事還真多,她看到了社會的真善美和假醜惡,但畫中多 半是自己悲歡離合的痛苦心情,但用很美的色塊掩蓋了!正如常人所言:一個漂亮的女人,哭也哭得好看。
西班牙是一個浪漫、聰明、充滿藝術細胞的民族,亦是我想望豐采的好地方,看到Tavira的畫,就想起Picasso和Salvador Dali,不是她的作品像他們,而是她與他們有同樣的幻覺天性。是很自然的存在。
Tavira 十分謙遜,第一次觀賞她的作品,我的直覺是KANDINSKY點線面中的雙重音一直線的冷性張力,弧線的暖性張力,僵硬的朝向鬆弛的,稀的朝向密的,此類 元素表達過於明顯,但今次看她的作品就完全不同了!是她自己。我很欣賞她的努力與成就。她的作品、顏色鮮豔而協調。可以看出畫裡有她的心思和故事,雖然不 能完全猜透,但是又何必要一清二楚地明白呢?藝術家的心思永遠有深藏心田的秘密,只能流露於色彩筆法之間,同樣,觀者亦有自己感情的私密在畫作中找到共 鳴,這就是藝術、生命的共同體。
Tavira的畫,是女人的心,就是她自己的心。有些是她所見社會現象在她的內心引起的波動,可以說:她的作品是 色彩豐富的悲歌。看來矛盾,但正符合她的人性。因為Tavira是位善良、溫存、浪漫、熱情有理想的女子,這一特色表現於她的色彩方式,但她又活在一個複 雜、多難、痛苦的社會中,因此潛意識中產生怪誕不經的造形,成了她最佳的表述語言。只要內行人就知道,她的手經常是不經意地遊走在畫布上,在偶然的碰撞組 合中形成了「造型」、「符號」,在這美妙的過程中,畫家突然醒悟覺察到她的苦與歡樂就在其中...。所以Tavira的畫面構成成自然,正是中國人所言: 「無意得天趣」。
在Tavira的作品中,A Little Girl(小女孩)是我的最愛;色彩秀逸清淡雅致,造型可愛有趣,天真無邪,作者把花瓶中的玫瑰變成了女孩,飄飄欲仙、飄然出塵,那有刺的臉彷彿告訴別 人:「別想碰我,我有刺!」有趣!是幅好畫。另一幅作品:An Artist Pain(藝術家之苦),其實,我並沒有看到作品之題,但我一眼就看上了它!它告訴我一些難得的東西,色彩從暖到冷色都有,處於灰調之中,特別統一。溫柔 的悲傷之感我體會到了!那種大大小小的不同運動式動作,是一種過程又連結一體。似乎看到痛苦、不滿、張大嘴吶喊、腳抽筋、不安...,但還是很美。剛裡帶 柔,傷心哭泣。Untitled(無題)這幅作品很討好,構圖、結構完整,留白多,使畫面明快,重色與淺色之分佈,恰到好處,線條優美,那飄逸的彩帶,開 始接近中國繪畫元素。作品When a Stranger Knocks at Your Door (陌生人來敲門),雖然是個有人按門鈴的情節,但畫面簡練,形式感很強,色彩甚佳,那大塊的黑色很重要,把其他色塊全襯托而出。總之,她色彩感覺很好。從 以上作品足以看出Tavira的才氣與用心,她沒有經歷美術學院的指導,但她的才氣,內在之靈氣足以使她創作出水準十分專業化的作品,無師自通。
我愈來愈覺得藝術是自己的,不是受教就能成家,真正的受教是社會與傳統;是許許多多有經驗、有創意、成就的前輩。不一定存在於某個藝術大學之科系,藝術就是天才與社會的結晶。畫作只要真正有自己的東西,就是藝術。有獨立存在的價值。
同 Tavira交談:她不是那種浩如煙海、上知天文下知地理、男性化的女子,她溫文儒雅、有自己獨特的思路,談的都是心聲的藝術和藝術的心聲;「我作畫的時 候,總是伴隨著感同身受的痛苦,這種內心的痛讓我成了藝術家,但這絕對不是加諸在我身上的懲罰。每每只有當畫作完成的時候,我才能真正放開這種心情。」、 「我厭倦使用無聲的色彩,那樣無法代表我的生活方式。」Tavira的色彩的確很好,以中國人的語言說:「色彩很西方」,值得年輕的畫家學習,東方人一學 西方人的色彩,就變得如同寺廟中紅紅綠綠的市井、世俗感,沒有優雅的沉穩。在色彩中,高彩度的構成,效果轉化為沉穩、有力、統一與灰調子以微差轉化為豐 富、無限空間是一樣難的。色彩靠感覺、靠天才。別無他法。
Tavira她從現代藝術的創作方式跨到當代藝術的哲學思考,使自己的藝術表現更上一層 樓,她認為:「我們可能認為人生就是蒐集日常生活中各式各樣的體驗,但經歷Overcoating的創作過程後,我發現生命不只是獲得知識而已。最重要的 是要剝除一層一層的外在掩飾找到真相,並堅定自己的信念。」這同中國哲學的由表及裡、去偽存真的觀念是一致的。剝掉Overcoating的皮,有時令人 省思,有時很殘酷,人類總是需要Overcoating,安慰自己價值的存在,例如人老了!開始自卑,就想穿體面漂亮的衣服,至少外表可以年輕化,如果剝 去他的Overcoating看真相,只是乾涸的身軀或肥胖的肉,以此警告:「不要那麼神氣活現地高高在上...」,Picasso經常對女人做這種事。 不過Tavira 觀察的是精神的Overcoating,人情的、善意的、勸告的、提示的、隱微的、畫面很美,要觀賞者自己詮釋。她的作品展示帶有裝置性,有流動的燈光, 有水等多媒體結合,跳出了架上繪畫的框框與觀賞互動。有很大的實驗性。
Tavira嫁給了一位優秀的台灣丈夫,她將隨夫生活在台灣。她遠離美麗的城市西班牙,住在沒有建築藝術的台灣居住屋中,是遺憾的,除此之外,一切都很喜歡,可以看到更多的人生百態,這是她創作的源。
我 告訴Tavira,西方的近-現代藝術,是受到了東方藝術之影響,起源於東方文化。遺憾的是大多中國藝術家還在模仿西方而遠遠達不到。甚至乏於中國文化, 很空洞。如果她(Tavira)學習中國文化、哲學,懂得搞通之後,對她一定有極大的好處,至少西方的色彩修養、感覺,加上東方式的有力、多變的「線」, 畫面就能進入更高境界,令人刮目相看。藝術沒有國界,藝術無涯。
面對Tavira,心中默默回顧自己五十八年的教學,十分傷感!五十八年前當我畢 業於北京中央美術學院時,我是一個聽老師的話而不走老師路的人,因為在學校我已發現老師不是畫聖;比起RAPHAEL(1483-1520)拉斐爾、 VELAZQUEZ(1599-1660) 維拉斯蓋茲、VERMEER(1632-1675)維梅爾、INGRES(1780-1867)盎格爾,差遠了。老師的繪畫之道較為清規戒律。對我而言, 我更喜歡印象主義IMPRESSIONISM、野獸派FAUVISME、表現主義EXPRESSIONISM,在我讀書的年代,此類愛好是不允許的,但我 還是從愛好中試驗自己的新路,是精神上的「藝術叛徒」。使我甚感遺憾的是:幾十年總算教過上萬名學子,依我的觀念細想之,能成功者亦幾人而已。兩岸的美術 教育均今不如昔。在中國大陸,我的母校─中央美術學院和杭州美術學院,在幾十年中,只守住寫實主義方法的清規戒律和八股技法,沒有近現代藝術的美學研究和 創作技法,完全斷層,如今突然飛躍為「當代」,十分空洞、無修養。台灣是一盤藝術散沙,沒有文化傳統之主軸,多半為殖民性藝術,乃互相看不起。兩岸年輕藝 術家有相當部分狀況如下:其一,仍在死守寫實的精工描繪,其二,利用科技畫法,匠氣十足,其三,亂畫,狂稱「當代」,其四,追趕商業,賺錢為第一。此乃可 悲!嗚呼!
中國的藝術何處去?!
Tavira像一股清流般地感動著我,她單純,藝術觀純正自然,瘦小三個孩子的媽媽還是那麼的擇善固執, 一心想的是藝術,沒有絲毫婆婆媽媽的玩物喪志。在台灣我教過少數幾位有才華的女學生,但她們的結婚之日就是告別藝術之時,至今渺無音訊,不知家中還有油畫 筆否?千萬不要當柴燒,或做鞋刷子...。
Tavira的展題是「OVERCOATING」,建議中文為:「用愛戰勝醜惡」或「我看到了善惡」。
當Tavira漸漸融入中國文化之後,她會成為台灣的一顆明亮藝術之星。祝福她。
 
2012年11月15日於吉祥書屋


Kind Tavira: Her Love on Canvas
By Pang Jiun
 
I have known Tavira for a year or two now, she is a young Spanish artist born in Guadalajara, a beautiful city with many castles.  She studied music education (Educacion Musical) at the Universidad de Alcala De Henares, but her passion for art led her onto the path of an artist, where she found her calling in life.  Or shall we say, her calling in life found her?
 
Tavira is a woman with whom you feel comfortable around.  The first time we talked it already felt like we were old friends.  She is kind, naïve, and a romantic.  She fell in love with an Asian man and came to Taiwan; one could not tell that she was already a mother of two.  Now she is a mother of three, but she is just as beautiful and still carries a slight child-like innocence.  Her husband Mr. Huai-Chang Cheng is a gentle, scholarly man.  Tavira said, "I love him for his kind heart."  From what she said, one could already imagine her paintings.  Her art is just like her, beautiful, kind, romantic, fantastic, abstract, humane, and full of symbols, but by no means empty.  This is her perception of the world and her feelings combined in abstract forms and colors.
 
Although my style is completely different to hers, I appreciate her art.  I feel what she is trying to convey through her paintings.  Simply put, her art is "true."  It is honest and candid.  Her art is not influenced by others, and each piece has its own story.  In fact, each of her paintings has many stories behind it.  She has seen the beauty and the ugly truth of society, but most of her paintings depict her own pain and sorrow, but conveyed using splendid colors.  As some say, a beautiful woman is beautiful even when she cries.
 
The Spanish are a romantic, intelligent, and artistic people.  I have always longed to experience its loveliness.  When I see Tavira’s paintings, they remind me of Picasso and Salvador Dali.  Not that her works are like theirs, but because they share the same fantastic nature, a very natural existence.
 
Tavira is very modest.  The first time I saw her art I was struck by the parallel it had with Kandinsky’s lines – the cold, powerful straight line, the warm curved line, the rigid becoming relaxed, the solitary becoming massed; elements like these were too obvious.  But now her works are completely different!  They are hers.  I appreciate her hard work and achievements.  Her works comprise bright yet harmonious colors.  One could see her thoughts and story, although it’s never possible to always guess correctly.  But why should we try to understand completely?  An artist’s thoughts always have a part that is deeply hidden and can only be glimpsed through the colors and brushstrokes, and it’s the same with the viewers.  They too, have secrets deeply hidden and they are able to find accord within the artwork.  Such is the symbiosis of art and life.
 
Tavira’s art expresses a woman’s feelings, which are her own feelings.  Some of her own feelings are evoked by the happenings in society.  Her works can be said to be of a brightly colored elegy.  They look contradictory but represent her nature perfectly.  Tavira is a kind, gentle, romantic, passionate, and idealistic woman and her expression in color fits her unique characteristics. Yet she also lives in a society that is complex, full of pain and suffering, so subconsciously the strange and bizarre designs became the best way to express herself.  Those in the know understand that her hand often just meanders on the canvas, and unwittingly creates "designs" and "symbols."  In this wonderful process, the artist suddenly comes to realize that her pain and joy are embedded within.  So her artworks are formed naturally, like the Chinese proverb, "Great delight gained unintentionally."
 
Out of all of Tavira’s works, my favorite one is "A Little Girl (小女孩)."  The colors are calm and elegant, the design endearing and amusing and innocent. The artist transformed the rose in the vase into a little girl; the effect is surreal and fresh.  The face with thorns seems to be saying, "Don’t touch me, I have thorns."  It’s fascinating, a good painting!  I didn’t actually see the title of another painting: "An Artist’s Pain (藝術家之苦)," but it drew my first glance!  It told me something precious; the colors turned from warm to cold and remained in grayscale, a unique uniformity.  I felt the gentle pain!  The difference in sizes is like an athletic movement, a process, an amalgamation.  One gets a sense of the pain, the discontent, the screams through an open mouth, the cramps in the leg, the discomfort… but it is still beautiful; strong on the outside yet gentle on the inside, crying in sorrow.  The piece "Untitled (無題)" is pleasing, the planning and structure is complete.  There are many open spaces which brightened up the painting, with a perfect contrast between the dark and light colors.  The lines are elegant.  The flowing ribbon gives a sense of Chinese paintings.  The piece "When a Stranger Knocks at Your Door (陌生人來敲門)" depicts someone ringing a doorbell, but the symbolism is powerful with superb colors.  The black is very important as it brings out the other colors.  In short, her sense of color is uncanny.  From the above works one can see Tavira’s talent and dedication.  She was not trained in an art school, but her talent and inner spirit is enough to lift her artworks to a professional level.
 
I have become increasingly convinced that art belongs to oneself.  Art cannot just be taught.  What really teaches one is society and tradition, our more experienced and creative and successful predecessors.  Art is the crystallization of talent and society.  It does not necessarily belong to a department of an arts university.  The works should have something unique. That is art, something worthy of existing independently.
 
Through conversations with Tavira, she is not a woman who knows everything under the heavens, nor is she a masculine woman.  She is gentle and mild, with her own unique ideas; her conversation is full of her heartfelt art, and her artistic heart, "As I draw, the feeling of pain is always inside of me.  It’s this pain that makes me an artist and, in no way, is this a punishment put upon me. Its only when the drawing is finished, that I'm at ease."  "I am tired of using muted colors that no longer represent my way of life."  Tavira’s colors are indeed excellent, and as said by the Chinese, "her colors are very Western." This is a unique trait that young artists should learn.  When Asians try to use colors like Westerners, it is the loud green and red found in temples, it is tawdry and lacking the calm sophistication.  In dealing with colors, to form bright colors into calm, strength, and uniformity is just as difficult as turning grey from being minimal to rich and with unlimited space.  Colors rely on feelings and talent and nothing else.
 
Tavira uses modern art techniques and contemporary art philosophy to transcend her art to another level.  She believes, "We may think that life is about collecting a lot of different experiences through everyday living, but through the creative process of Overcoating, I found out that this life is not all about gaining knowledge.  Ultimately, it is a matter of peeling away all the layers and having faith."  This is a consistent viewpoint similar to Chinese philosophy towards simplicity.  If we take off the outer layer of Overcoating, sometimes it makes us reflect, sometimes it is cruel.  People always need Overcoating to assure oneself of one’s existence.  Like when people age and start to feel inferior, they will wear pretty clothes to look young, but if you take off the Overcoating and see the truth, there is only a dried husk or fat flesh.  It is a warning, "Don’t be so full of yourself…"  This is something that Picasso often did to women.  But Tavira’s observations are of the Overcoating of people’s spirit, the humane, the kind, the cautious, the hints, and the hidden.  The portrayal is beautiful and allows the observers their own interpretation.  Her artworks are equipped with movable lighting, water, and a "joining" of other multimedia materials.  The pieces have risen beyond framed paintings and limited interaction.  They are highly experimental.
 
Tavira married a brilliant Taiwanese husband, and she has followed him to live in Taiwan.  Her only regret is that she left beautiful Spain to come to Taiwan to live in a building of artless architecture.  But apart from that, she likes everything here and she gets to observe more everyday happenings which are her source of inspiration.
 
I told Tavira that Western modern and contemporary art were all influenced by art from the East; they all stemmed from Oriental culture.  It is a shame that so many Chinese artists are still trying to copy the West, but can never reach their goal, empty and lacking in Chinese culture.  I told her that she should try to learn more about the Chinese culture and philosophy.  If she could learn and understand, it would do her a lot of good.  At the very least with the Western use of colors and feel added to the Eastern powerful, ever-changing "lines", her art would reach a higher realm that would leave others awestruck.  Art is not limited by nationalities; art has no boundaries.
 
Seeing Tavira brought me back to my own past.  Fifty-eight years ago when I graduated from Beijing’s China Central Academy of Fine Arts, I was someone who listened to the teacher but did not follow the teacher’s path; because I discovered while still at school that the teacher was not a master, nowhere even close when compared to Raphael (1483-1520), Velazquez (1599-1660), Vermeer (1632-1675), Ingres (1780-1867).  The rules of painting were set, but for me, I preferred Impressionism, Fauvism, and Expressionism.  When I was at school, such preferences were not allowed but I took my own path using those I liked.  Spiritually, I was an "art traitor."  Something that I have always regretted was that through the decades I have taught tens of thousands of students, but there were only a few whom I consider to be successful.  The art education of both Taiwan and China cannot be compared to that of the past.  My alma mater, the China Central Academy of Fine Arts and Hangzhou Academy of Arts have throughout the decades kept within the boundaries and rules of Realism, there is none of the exploration of aesthetics and creative techniques of modern art.  These are completely cut off.  Now the sudden leap into "contemporary" is empty, lacking finesse.  Taiwan is a plate of loose sand, there is no basis of cultural tradition, and most works are colonial-influenced art.  Both countries look down on the other.  The young artists from both countries can roughly be divided into several groups: the first blindly follows the rules of Realism; the second uses technology to create art; the third just creates random pieces and calls it modern art; the fourth are commercialized.  They only care about money.  This is sad indeed!
 
Where can Chinese art go?!
 
Tavira touched me like a clear flowing stream - her purity and natural artistic viewpoint.  A slender mother of three, she is still so stubborn; her thoughts are all on art.  There is none of the dejection of a young mother.  I have taught a few talented female students in Taiwan, but after they married, they left art behind, and I have never heard from them since.  I wonder if they still have paintbrushes at home.  I hope they haven’t been burnt as firewood or used as shoe brushes.
 
Tavira’s exhibition is titled "Overcoating."  I suggest the Chinese title should be 「用愛戰勝醜惡」或「我看到了善惡」.  When Tavira has completely integrated into the Chinese culture, she will become one of the brightest stars in Taiwan’s art world.  Bless her.
 
15th November 2012, Jixiang Book House
 
 
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