蘇笑柏 黃庭堅 油彩、大漆、麻布、木板 二○○九年作

款識：
Xiaobai（右下） 黃庭堅 2009 蘇笑柏 Xiaobai（畫背）

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〈路：不只在兩點之間〉大未來林舍畫廊出版，台北，二〇一〇年，七十三頁
〈蘇笑柏〉大未來林舍畫廊出版，台北，二〇一一年，四十五頁

This work is in good condition. There is a 140-cm long craquelure which is presumably inherent to the artist's working method towards the top, 70 cm to the right corner; and an 8-cm long craquelure in the lower left quadrant, 31 cm to the left and 80 cm to the bottom. There is another 1-cm long abrasion on the right edge, 25 cm to the bottom.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

大氣磅礡一黃庭堅

大漆所負載的中國遠古文化氣息，賦予了蘇笑柏的抽象繪畫以濃厚的東方文化特質。在某種意義上，大漆作為中國傳統漆繪特有的媒材，也成為蘇笑柏跨越東西文化的一種中介。一方面，這種媒介增添了油畫或丙烯難以達到的厚重與古樸的品性。在蘇笑柏的作品裡，他把大漆與膠、麻、藤、陶、木的組合發揮得淋漓盡致，或刀劈斧鑿的金石味，或鏽蝕崩裂的滄桑感，或剝落色層的豐富性，從而增添了單純色形的視覺耐讀性與文化意蘊。另一方面，他以媒材物理性的分割來組合色彩的構成關係，並強化了塗漆過程中手繪筆觸的隨意，大大地發揮了筆繪手感的繪畫意趣。

這種對於手感隨意性的強調，中國藝評家尚輝認為既可看作是德國表現主義對他的影響，也可認為是中國書畫書寫性的自然流露。或者說，他把德國新表現主義那種刺激暴力的色彩與線條，當作中國書畫用筆的寫意性而被「書卷化」和「蘊藉化」了。是次上拍的《黃庭堅》以「宋四家」之一、同時也是詩人的著名書法家命名。蘇笑柏用極具中國底蘊的黃、紅、大漆去表現對這位大師的景仰。黃庭堅在詩歌上主張章句的創新，書法上亦以不被舊規矩束縛、縱橫奇絕但收放自如的草書聞名於世。蘇笑柏在此通過作品帶我們進入了黃庭堅的詩意世界，作品的媒材是他的筆墨，多層次的構圖和肌理是他的文字，色彩的情緒是他的故事，在這片新的思想空間裡任觀者遨遊。