~700 nanometers
《~700 納米》

The Hon Tung Chee Hwa, GBM, 2017
董建華先生 大紫荊勳賢

81.3 x 96.5cm
Oil on canvas 油彩畫布
(Details 局部)

How Albers passionately discussed the relative influences of colours towards each other and the viewer as if colours could 'behave' and 'act' in an anthropomorphic fashion never ceases to fascinate Lynus. The question of 'what if colours do behave' becomes increasingly dominant in his artistic practice. How would a specific colour in its chromatic autonomy speak to him and, in turn, motivate his creative process? What chemistry would flourish from this interaction between him as a real living being and colour as another?

阿爾伯斯傾盡一生探討顏色對彼此或對觀者的相互關係這一命題,甚至於以擬人化的方式形容顏色如何帶自我意識地「表現」與「行動」,這份熱情讓胡智同感到深深著迷。在阿爾伯斯的色彩論潛移默化下,顏色在胡智同的藝術創作中漸漸佔據主導性地位。「若顏色確實有自主性呢?」胡智同想:「個別顏色會如何與作為創作者的我交流,從而激發我的繪畫過程?而作為真正生物的我與色彩這另一活體之間,又會擦出甚麼樣的火花呢?」

為了深入探討,胡智同很自然的以紅色為始點開展了他的巡禮。紅色在各個方面都是最遠古而重要的三原色之一。它是人類可見光譜中波長最長的顏色,是嬰兒繼黑白後能辨識的第一種顏色,是史前洞穴壁畫中最早廣泛使用的顏色,也是最能與人的血肉相聯的顏色。總而言之,紅色堪稱生命和始源的一種視覺體現。