Confrontation Between the Painter and Colour, 2019
《畫家與色彩的對峙》

76 x 76cm
Oil on canvas 油彩畫布

This section brings together three selfportraits painted from a pivotal moment in Lynus's first few months back in Hong Kong. The unsettling period was soon followed by stringent social-distancing measures resulting from the first pandemic outbreak, propelling Lynus to turn towards a subject matter that remained immediately available yet alienated: himself. The mirror naturally became his closest comrade, leading to a journey of selfreflection, both literally and psychologically.

This series is the only group of works painted using palette knives in this exhibition.The thickly applied impasto carries the painter's psychological weight, dense with suppressed anxiety. The gestural marks loosely interweave into Lynus’s visage while suggesting contours of continents hovering on a vivid yet decontextualised abyss, subtly symbolic of his then geographical relocation. Isolated and distressed, Lynus saw himself receding into the engulfing swaths of yellow, green and blue. The painter who waltzed with colours appeared to have lost command over the medium; the enhancing but equally destabilising effects of colours made him wonder whether the fickleness and vulnerability of the human facade could ever be faithfully portrayed under the painterly brush.

展覽的這個部分集合了三幅胡智同歸港首數個月創作的關鍵性自畫像。伴隨著這段不安定適應期是新冠疫情的首回大爆發。其時的嚴格社會隔離措施,促使胡智同重新審視筆下主題,並且把觀察描繪的對象,轉移到既親切又陌生的自己身上。因此,鏡子順理成章地成為了胡智同最親密無間的夥伴,並為藝術家的自省旅程──不論是圖像上還是心理上──揭開了序幕。

這系列畫作是展覽中唯一使用了調色刀作畫的作品,每一筆厚塗的顏料彷似承載著胡智同的內心的沉重、壓抑和焦慮。密密麻麻的筆觸縱橫畫布,隱約交織出胡智同的面容。這些臉龐的輪廓,又好像勾勒出一片片地圖上的大陸形狀,巧妙地暗示着藝術家在地理上的換移。畫中的胡智同孤寂而苦惱,貌似緩慢地被吞噬在浩瀚的黃、綠、藍調中。曾沉浸於與色彩共舞的藝術家彷如對媒介失去了控制。色彩在此奪取了主導權,甚至有感凌駕了創作者。顏色如此強勢的逆襲使胡智同不禁懷疑,人的身心善
變與脆弱是否可以忠實呈現在畫家的筆下。