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我們習慣被題目限制自己,本來我就沒有想過要為這個展覽改名字,當邀請大家來參與時,都被問到主題,能說出的只有方向,大家就只管做自己想做的事就最好了,然而題目最後都要定,在一次和阿旦(黄肖萍)對話碰撞中定了這個名“本來就係咁”,好朋友聽了這個名字說這不是你的口頭禪嗎?

本來我們就不需要為自己定義,如細路一樣的抱著單純沒有動機的心,做著自己喜歡做的事。童年至今,在我記憶中最深刻是美勞課,我不知道其她人是否如我般愛美勞,但我很享受手作的過程,花盡心神去完成。成長過程中疑問太多,可都沒有答案,不懂反駁的我,只能做個不發言的普通學生。

上一年參加澳門區DFC(Design for change)頒獎禮,看見了倒立先生(黄明正)的表演及演講被感動了,向著夢想努力的實現,以雜技賣藝把這個夢傳開,人傳人互相的影響著,夢從來都沒有完,只是實現的開始,我們要勇敢的面對自己,誠實的生活。一出生我們就能哭能吃奶,大一點可以手舞足蹈、拱橋及倒立……再大一點就能牙牙語,手拿筆自然能畫能貼,這些我們不需要教,是隨著身體的成長自然會懂的事,為何大了變得都不會了?倒立先生自小就發現自己能翻滾及倒立,18歲畢業後當過業務員,再考進台北藝術大學戲劇系,27歲那年他決定不要辜負心中那個始終佇立,不曾離開的小男孩,沒有舞台,可以到街上表演,以及到全世界自拍倒立。

第一次見倩瑜的作品是在牛房倉庫的二樓,那幅即場在牆上用鉛筆繪畫有關床的故事,有著女孩細膩而富幻想力的本性,她愛文字愛繪畫,後來以圖文出版了《澳城故事﹣望廈1849》把童年回憶、澳門及木馬結合。而這次她以更純粹的心情用日記式的方法,將文字圖像再一次結合,敏感又多愁善感,自我又常失神,總可以在她的作品看到一點點自己,而又不盡相同。

認識志偉是在臉書網絡,常出現有朋友讚或分享他的插圖,他以幽默或諷刺的手法表現,有會心微笑的,有令人反省的,有鼓舞作用的。後來更把這些插圖製成明信片,實行“叮一聲”城市鼓勵行動,親身與人互動直接對話。這次展出的“塞豆窿”系列將細路心聲表達出來,成長的他期望拿掉成人的面具,把往日的勇氣拿出來,然而你呢?

Summer(楊冠瑩)是一個安靜纖瘦的可愛女孩,初相識時她在牛房做兼職,其實我不了解她正在做著什麼創作,可對她臉書分享的東西很感興趣,那些怪異的圖畫,關於性別、平等、公義及動物權益的事,都常在她臉書上看到,想著究竟一位二十歲的女孩,不跟隨大部份人的脚步談愛情、娛樂、學業、購物及玩樂,而是有自己的想法,那是由於她有一段時期活在封閉的生活?還是每個人心中都有自己的角落,趁未被巨輪吞噬時,好好躲避下來以文字及圖畫記下,再製作成動畫,成為她的美妙生活。

卿(鄭婉卿)的畫好像是未被成長渲染一樣,純真、傭懶及隨意,色與色之間的重疊,一筆一筆的,或多或少,或留空或亂塗一塊,她用電腦繪畫,你可以看作是大人模仿細路的畫,我反覺得她發自赤子之心,繪畫的筆跡及內容都是她心裡最真實的一面,電腦也只是一個大人的工具,也許日後三歲小孩都不拿筆畫,只用手指輕觸來畫畫,媒界並不能規限我們的創作,她亦會手繪也做立體也做動畫。

每個人心中都會有一位小天使,她不常出現甚至躲著不出來,那是因為我們不想見到,低落時都往下沉,一直一直的沉到底,然後天使才稍稍的閃出來,如果捉不緊她又會消失了,幸福就是要自己走出來,當B倫(尹保倫)向我介紹NANA時,直覺她就是這小天使。B倫不單自己用藍白色瓷磚繪畫筆直走的NANA,還把她散播到街道上及朋友手中,將這訊息傳開,NANA一邊走一邊還會唱著歌。

如果閱歴越廣,就會變得成熟、穩重、謹慎及心思細密,那麼在阿旦(黄肖萍)身上都找不到,而且她每天要做的事是找回童真,不僅是因為她是幼兒美術教育工作者,而是她嚮往這心境,唯有心放開手輕眼寬,回到人本來最初的境界,才感受到我們原本細路時的心情,阿旦根本就不需要為展覽而創作,她日常在教學中的練習就是作品,每天都是一種練習,有形的、無形的都在,只是你懂嗎?

細路本來就是可塑性非常之高,像一團綿花一樣,可拉鬆可壓扁,我無意去限制導師的教學,出來的效果也並沒有好壞之分。小朵教的那班,由點點開始,小紙到大畫布,小點大點聚集結合,用筆用手用脚,那是原始那是試驗,那是引導細路把繪畫界限開得更闊之習作之一,而在這裡誰又能看到細路與大人之分別?阿旦的學生一開始就設定了沒有題目的美術課,短短幾節課我們期望看得到什麼?結果其實不重要,而是喜歡畫畫的細路們,你們以後還可以每天這樣專注愉快地畫畫嗎?阿Lam(林月娥)是牛房兒童藝術工作坊的導師,如果細路在學校上的美術課被要求畫到似真實及工整,那麼這裡絕不會要求這樣,反而是因為成長而分薄了對繪畫的興趣,當這班細路成為了大人時,回想當初都會懷念,然而有多少個人會覺得細路時的自己才是本來的我?

策展人    施援程
 

 Foreword

In an exhibition, we tend to be conditioned by the theme and to defy this, originally I did not intend to give this exhibition a title. When invited artists asked me about the theme, I would only gave them a hint, thinking that it would be best if everybody could just do whatever he/she likes. However, at last a title must be found and it turned out to be "We Were Born This Way", as a result from a conversation and exchange I had with Veronique Wong. My good friends then said, “Isn’t that your pet phrase?”

 

Indeed we don’t have to define ourselves and just as a kid with a pure heart and without any motive, we can do whatever we like. In my recollections of childhood into adulthood, what impresses me most is art and craft. I am not sure if others love it as I do, because I really enjoyed the whole process of making handicrafts and would finish it wholeheartedly. While we are growing up, one may have too many doubts and very few answers. Being a girl slow in refuting, I had no choice but to become a common student who never voiced out. 

 

Last year in the Macao DFC (Design for Change) award ceremony, I was moved by the performance and speech by Ming Cheng Huang, aka ‘Mr. Candle’, a Taiwanese circus/acrobatic artist and dancer. He started to pursue and try to realize his dream, travelling across Taiwan doing handstands and circus treats as a busker, to share his dream as well as the persevering spirit. The dream lives on, as it starts to be realized. We have to face our true self bravely, and live honestly. Think about these: when we were born, we already know how to cry and suck milk; as we grow a bit, we can fling our arms, dance, make back arch, do handstands; and more older, we start to babble, hold pens and draw and make collage naturally. Nobody teaches us and we just can do all these out of instinct as we grow up. Why have we lost such abilities when we step into adulthood? Mr. Candle discovered his own ability while doing rolls and handstands at a very young age. He became a salesperson at 18 upon completing high school, before he was admitted to the Department of Theatre Arts, Taipei National University of the Arts. At 27 he decided that he should not forsake the little boy who has been always standing, lingering in his mind, and that he could perform in the street, his ever present stage, taking photos of himself doing handstands in special spots across the world. 

 

I first saw Sandy Leong Sin U’s work on 2/F, Ox Warehouse. It’s the impromptu -painting that she drew with a pencil right on the spot, depicting a bedtime story. Her work was subtle, filled with girlish fantasies. Sandy loves writing and drawing. After the exhibition, she published a picture book Macao Story: Mong-ha 1849, combining childhood memories, Macao themes and carrousel in a tale. In this exhibition, she used the diary format, a more intimate approach, to fuse text and images. The resulting works are sensitive, full of sentimentality, living in her own world and yet refreshingly surprising. I can always see a bit of myself in her works, though there’s difference (between me and her protagonists). 

 

I got to know Chi Vai Un on Facebook, where friends would often ‘like’ or share his illustrations, which he presented in humorous or sarcastic ways. Some can trigger a smile, a few are thought-provoking and others are inspiring. Later on he made them into postcards and launched the ‘Bingo’ Warm Up Our City activity, in an attempt to pass direct messages to people. This time his Stubborn and Unreasonable series featured here fully reveals children’s inner voices. Upon becoming an adult, Chi Vai wishes to tear down his grown-up mask and show his childlike bravery. How about you?  

 

Ieong Kun Ieng, aka Summer, is a quiet, slender lovely girl. I first knew her when she was a part-timer at Ox Warehouse. In fact I didn’t know what she was creating, but I was very interested in the things she shared on Facebook; I could often see her subjects as weird pictures, dealing on gender, equality, justice and animal rights, which made me wonder why, as a girl in her 20s she does not follow the usual trend of interests like love, entertainment, studies, shopping and leisure/play, but rather reveals her own ideas (towards more serious subjects). Is it because she has lived briefly in a closed environment? Or, it is because, like everybody else, Summer has a private corner for herself in her heart, and she is just trying to convey through text and image the inner workings in this intimate realm before it is shattered by the wheel (of time), transforming them into an animation, as a token of her beautiful life.  

 

As if not at all affected by adulthood, Molly Heng Cheang’s computer-generated images show an innocent, free charm in an easygoing mood. Overlapping colors, drawn in singular stroke – some with plenty of lines showing a doodling block and others scarce, conveying emptiness. You may read her painting as being an adult emulation of children’s style. However, I feel that she draws from her childlike heart, with the brushwork and theme both illustrating her truest inner. Computer is now a tool used mainly by adults, but perhaps in the very near future 3-year old toddlers will draw with touch screen. Our creativity won’t be constrained by media. But Heng also does hand-painting and 3D arts besides animation. 

 

There’s a little angel living in our heart, hiding inside and only coming out occasionally. It’s mostly absent because of our unwillingness to see it. And yet when we become depressed and despondent to the extreme, the angel would appear in a flash; and if you don’t get hold of it, it would vanish again, because happiness comes from perseverance.  When Ernest Van Pou Lon introduced me to NANA, I immediately felt “she” is this little angel. Pou Lon not only painted in blue the marching NANA on white tile, but also distributed her in streets, pass her on to many friends, thus spreading the positive message with NANA walking and singing alongside. 

 

Usually with richer experiences, one will grow more matured, self-composed, prudent and sophisticated. But Veronique Wong may be an exception to this rule. Besides, she tries hard every day just to get back her innocence. The reason is that she is not only a children’s art educator, but also aspires to get to the heart of childlikeness, for (she believes) only when we are free in all senses and go back to the original-way-when-we-were-born, can we feel in a child’s way. Veronique has the least need to make creations for exhibition, as her teaching practices are all her works. In a sense, every day for her is a practice, tangible and intangible. However, do you understand? 

 

Children are versatile, and flexible as cotton. I did not intend to set any limitations on the teaching. As such, we can’t distinguish the result of free teaching as being good or bad. The class taught by Dora Lou started with dots, from small sheets to big canvas. The children used pens, hands, feet to produce drawing composed of small or big dots. That’s an experiment on primitiveness, an exercise prompting the kids to explore free painting. Here, who can tell the difference between children and adults? From the beginning, Veronique did not set any theme for her art class pupils. Yet in just several sessions what results can we expect to see? But results are not important. The crux of the matter is: do kids really like painting and can them continue to draw every day, in a concentrated and merry manner, just as they were doing in the lessons? Lam, instructor for Ox Warehouse children’s art workshop, reveals that, we don’t require that our children draw to mimic the appearance of objects or paint meticulously. But as they grow, their interest in painting is overtaken by other concerns. Yet when these kids grow into adults, they may miss the free from drawing experience. 

 

However, how many people would think that ‘the childlike me is my true self’?  

 

Cora Si Wun Cheng

Curator

2013 牛房兒童藝術樂園
Ox Warehouse Children’s Artland 2013

 

本來就係咁

We were born this way

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