展期 Period：
2024.5.18—2024.7.21
艺术家 Artist：
地点 Venue：
展览介绍 Introduction：
今格空间荣幸地宣布，我们将于深圳空间推出宋拓个展“宋拓字画随笔选录”，此次展览是艺术家作品与今格空间的首次联动，亦是艺术家在深圳的首次个展。
展览延续了艺术家一贯 “非正式” 的视觉语言，其主体展示分为书法与绘画两部分。在宋拓的作品中，视觉的即时性与幻想性虽不代表作品本身，但却与之密不可分。他通过符号语言的异度转圜，模糊原有的内在指向，凸显“随笔”层面创作意图的背后是艺术家游刃有余地穿梭于虚实之境，从笔随心走到物我两忘的境界。
宋拓的书法作品，乍看之下如同日常的生活便签，一旦进入视域，便逐步被引入他的“思维导图”。在《想不到的周记真精彩（页一、页二）》等新作中，偶发即兴、自创字体、啫喱笔、可读的不可读……艺术家有意强化手迹的形式和若隐若现的黑色幽默。宋拓在书写领域数十载的深耕，让人与字之间的沟通日益默契，作品俨然散发出信“笔”游疆的浑然之境。本次展览还将呈现两件以宗教内容为主题的书法作品，四联立轴《台神待降节礼拜经幡，节选自当日经文以赛亚书61章》是艺术家于2023年受台湾神学院礼拜堂邀请所创作，他抄录的《以赛亚书》片段字句与场景发生联动，作品中的结字、解字手法以及具有可辨析度的章法；手卷《手抄太上玄灵北斗本命诞生真经（校印版）》在放弃个人书体后，抄写中加入个人化理解；其所因循的书法原则与法统、与当下均是沟通无碍。
不同于通常的“画中藏拙”，宋拓在绘画作品中自然表露出“拙”的成分，将绘画语言单纯化的同时，用带有戏谑、漫画式的夸张与变形，让作品抽离原有的特定语境。A4纸上创作的《兔子》与《大象椰子》等作品借用信息的错位与形象的代入，制造莫名的荒诞感，再以非意象、非意境的游戏方式进行认真的辩白；《临范曾老子出关（三视图）》是宋拓较大尺幅绘画作品，作品颠覆“临摹”的定义；原本所负载的形象意涵已然被转化为完全平面化的3D视图结构。艺术家有意制造“混乱”和“歧义”，试图重新概括绘画性与表意性。
相较于艺术作品的形态，艺术家的姿态似乎更为重要，其所起到的隐性作用是不言自明的。具有多重艺术身份的宋拓，其作品同样具备多重艺术形态，他以表层的“无序”确立潜在的“有序”、以没有主观来强调“主观”、以不是内省来强化“内省”，进而以视觉补偿的方式反思书法和绘画艺术。
Ginkgo Space is delighted to announce that it will present a solo exhibition by Song Ta titled "Selected Essays on Painting and Calligraphy by Song Ta" in Shenzhen. This exhibition marks the first collaboration between the artist and GinkgoSpace, as well as the artist's inaugural solo exhibition in Shenzhen.
The exhibition continues the artist's consistent style of "non-professional" approach. The main exhibition is divided into two parts: "Calligraphy" and "Pictorial Art". In Song Ta's works, the immediacy and fantasy of the visual language are not representative of the works themselves, but are inseparable from them. He blurs the original inner point of reference through the heterogeneous transformation of symbolic language, highlighting the fact that behind the creative intention of the “spontaneous” level is the artist's ease of travelling between the real and the imaginary, and his ability to move from the brush to the mind to the realm of forgetfulness of the world.
Once entering the field of view, Song Ta's calligraphic works, which at first glance appear to be like daily life's sticky notes, are gradually introducing one into his "mind map". In new works such as Excellent,Unexpected Weekdiary (Page One, Page Two), spontaneous improvisation, self-created font, gel pen, readable but illegible... the artist intentionally strengthens the form of handwriting and the elusive black humor. Song Ta's decades of deep cultivation in the field of calligraphy make the communication between people and characters increasingly tacit, and his works emit an atmosphere of wandering with the pen. The exhibition also presents two calligraphy works with religious content as the theme. Advent Banner for the Chapel of Taiwan Theological Seminary, Featuring Selected Verses from the Book of Isaiah Chapter 61 (Four Scrolls) was created by the artist at the invitation of the chapel at the Taiwan Theological College in 2023. The fragmentary words and scenes copied by the artist from the book of Isaiah are linked, and the techniques of joining and deciphering characters and the discernible chapter structure are evident. The hand scroll Hand-Copied The Supreme Mysterious Northern Dipper's True Birth Scripture (Collated and Printed Edition) incorporates personal understanding into the copying process after abandoning personal handwriting. His adherence to calligraphy principles and legal principles, as well as the present, are all unobstructed.
Unlike the common practice of "hiding clumsiness in paintings", Song Ta naturally reveals the element of "clumsiness" in his painting works, while simplifying the language of painting, he uses exaggerations and deformations with a sense of jokes and cartoons to make the works abstract from their original specific context. Works such as Rabbit and Elephant and Coconut, created on A4 paper, borrow the dislocation of information and the substitution of image to create an inexplicable sense of absurdity, and then use non-imagery and non-contextual games to make a serious defence. Copy of Fan Zeng's Lao Tzu's Out of Customs Front/Side/Back is a large-scale painting by Song Ta, which subverts the definition of “copying”. The originally carried image connotation has been transformed into a completely planar 3D view structure. The artist intentionally creates "confusion" and "ambiguity" in an attempt to recapitulate pictoriality and ideology.
Compared to the form of the artwork, the artist's gesture seems more important, and its implicit role is self-evident. Song Ta, who has multiple artistic identities, also has multiple artistic forms in his works. He establishes potential "order" with superficial "disorder", emphasizes "subjectivity" with the absence of subjectivity, strengthens "introspection" with the absence of introspection. Then he reflects on the art of calligraphy and painting in a way that visually compensates for it.
