Materials | Digital Exhibitions

Materials

物料

Reguera’s obsession with the materiality of painting comes from his childhood. He was born in Castile surrounded by seas of wheat. As a child he remembers gazing at flaking walls and the iconic graffiti throughout the city of Segovia. These experiences led to the painter’s ambition to create multiple layers and then to scratch away at those layers—a process of deconstructing to construct.

雷古拉對繪畫顏料的執迷始於童年的經歷。他在西班牙卡斯提爾出生，被麥田所包圍，小時候喜歡注視著油漆斑駁的牆壁，還有塞哥維亞城裏特有的塗鴉。這些經歷引導了藝術家決意在創作中製造層次感，繼而再把顏料刮去——一個通過解構來建構的手法。

Alberto Reguera
Light Mist
Mixed media on canvas
2020
L. 20.5 cm x W. 30.5 cm
Collection of the artist

艾拔圖·雷古拉
《光霧》
布本混合媒介
2020年
長20.5厘米 x 闊30.5厘米
藝術家收藏

This contemplative process is made tangible by the artist’s choice of pigments. Pigments have the dual ability to trap and give off light. In order to create a glaze one must first apply it over a freshly painted surface. With the canvas set at an angle, Reguera begins by tossing on paint like he was ‘sowing’. He sprinkles pigment over the fresh paint to create a series of textures and glazes that the light filters through.

雷古拉所用的顏料經過了藝術家嚴密考量，繼而成就這種精深的技法。顏料具備兩種功能，既吸光也放光。如果要取得釉面的效果，便必須把顏料塗在剛上色的表面上。雷古拉把畫布設置於一個角度，然後灑上顏料，仿佛在畫布上「播種」一樣。透過把顏料揮灑在未乾的顏料上，他製造了一層層恍如釉面的肌理，令光線可穿透顏料。

因此，底層的顏料仍然可見，並與普魯斯藍或鮮黃色等顏料塗層共冶一爐。此外，當雷古拉朝著某方向灑色時，他嘗試模仿光線照耀風景的效果。如果從畫的一端投擲顏料，那道黎明或黃昏的斜照便彷佛燃亮了這片風景的輪廓。而如果站在畫作的正前方灑色，便可重現卡斯提爾的正午強光。