愛好和平的整合者
文潔華
小時候的Claire（劉漢澄），是眾人眼裡的「中國娃娃」。她還未走路的時候，頭髮中央一撮被母親紮成了一棵小樹，直坐著展示她迷人的酒渦，讓眾人逗著笑。其時她的父母正在巴黎進修及工作，Claire不單是香港留學生叔叔和姨姨們的慰藉，同時也是父母的法籍朋友的甜心。我對她頭上的「小髮樹」印象很深，只是從來沒有想過「樹」後來會是她繪畫藝術的標誌。
Claire的父母唸法國歷史與哲學，同時身體力行，讓女兒在博雅與自由的氛圍裡成長。她的生活滿是藝術與音樂，每逢到訪她家，才進門便見她在愉快地彈琴與歌唱，歌聲圓渾有勁。 她似乎早已習慣了隨情，與人分享人間應有的優良品質。Claire也符合了教育專家們對具藝術天賦的兒童的研究與觀察：自我發動、自我表達，並在其中得到極大的樂趣。他們在藝術方面的發展與成就不完全在技巧與能力，也在知覺的敏銳力、想像力以及所謂「美感智商」(Aesthetic Intelligence, A.I.)。
Claire的A.I.見諸她如何處理線條之間的空間，以及線條自身所呈現的品質。如果說是藝術天賦者善於解決藝術實踐上的問題，同時又不被解決技術的方案限囿了盎然的創意，Claire的畫作便見出她如何善於平衡二者。或許她習慣了面對生活表面上的衝突與矛盾，包括香港與歐美之間的生活；大自然的樹木與城市的三合土森林；寬闊的林野與狹窄的城市；天然的與人為的景象；以及如何把豐盛的生命力形式表達於兩度空間的畫布裡。她努力尋求把心中的森林與青葱的草原，跟她置身的城市環境（香港的葵涌、火炭、禾輋、油麻地……）結合。她的畫裡是理想性的比例與和諧，又同時是她熟悉的建築物；它們以高昂和挺立的姿態並存。低處的叢林在擁簇在延綿，自然界的生機處處，穿插於建設者的野心勃勃；彼此各自精彩、互相調節。
Claire的「香港榕樹」繪畫系列，訴說著她的藝術態度與生活信念：那些在香港的土壤裡盤根有序，穩固穩紮地生長的大榕樹，才真正展示了生存的實力。畫裡盤根穿破了壓制著它們生長的地面，曾使這位年輕的畫家著迷。她專注地繪畫著它們，讓它們訴說自己的故事。我們則驚訝於這位年輕畫家的整合力。她顯然是個和平的愛好者。
---
文㓗華教授現為香港浸會大學人文及創作系系主任及教授，2007-2013年擔任「香港藝術發展局」大會委員兼視覺藝術组副主席，現任香港視覺藝術組織「 1a空間 」董事會成員。
Claire的父母唸法國歷史與哲學，同時身體力行，讓女兒在博雅與自由的氛圍裡成長。她的生活滿是藝術與音樂，每逢到訪她家，才進門便見她在愉快地彈琴與歌唱，歌聲圓渾有勁。 她似乎早已習慣了隨情，與人分享人間應有的優良品質。Claire也符合了教育專家們對具藝術天賦的兒童的研究與觀察：自我發動、自我表達，並在其中得到極大的樂趣。他們在藝術方面的發展與成就不完全在技巧與能力，也在知覺的敏銳力、想像力以及所謂「美感智商」(Aesthetic Intelligence, A.I.)。
Claire的A.I.見諸她如何處理線條之間的空間，以及線條自身所呈現的品質。如果說是藝術天賦者善於解決藝術實踐上的問題，同時又不被解決技術的方案限囿了盎然的創意，Claire的畫作便見出她如何善於平衡二者。或許她習慣了面對生活表面上的衝突與矛盾，包括香港與歐美之間的生活；大自然的樹木與城市的三合土森林；寬闊的林野與狹窄的城市；天然的與人為的景象；以及如何把豐盛的生命力形式表達於兩度空間的畫布裡。她努力尋求把心中的森林與青葱的草原，跟她置身的城市環境（香港的葵涌、火炭、禾輋、油麻地……）結合。她的畫裡是理想性的比例與和諧，又同時是她熟悉的建築物；它們以高昂和挺立的姿態並存。低處的叢林在擁簇在延綿，自然界的生機處處，穿插於建設者的野心勃勃；彼此各自精彩、互相調節。
Claire的「香港榕樹」繪畫系列，訴說著她的藝術態度與生活信念：那些在香港的土壤裡盤根有序，穩固穩紮地生長的大榕樹，才真正展示了生存的實力。畫裡盤根穿破了壓制著它們生長的地面，曾使這位年輕的畫家著迷。她專注地繪畫著它們，讓它們訴說自己的故事。我們則驚訝於這位年輕畫家的整合力。她顯然是個和平的愛好者。
---
文㓗華教授現為香港浸會大學人文及創作系系主任及教授，2007-2013年擔任「香港藝術發展局」大會委員兼視覺藝術组副主席，現任香港視覺藝術組織「 1a空間 」董事會成員。
A Lover of Peace and Harmony
By Eva Man Kit-Wah
When Claire was young, she was the “China doll” in everybody’s eyes. Before she could walk, her mother would tie her hair into a little “tree” on top of her head, and sitting upright, exhibiting charming dimples on her face, she would make everyone around her smile. At that time her parents were studying and working in Paris. Claire became not only a console to all the fellow study abroad students, but also a sweetheart among her parent’s French friends. While the image of her with the “tree” on top of her head had left a deep impression in my mind, I never thought that trees would later become a hallmark of her paintings.
Claire’s parents studied French history and philosophy, and practiced what they preached. They enabled their daughter to grow up in a cultured and liberal environment. Claire’s life was filled with art and music: every time I stepped into their home, she would always play the piano and sing with a rounded, energetic voice. She seemed to express herself naturally from an early age, and was happy to share the beauties of the world with other people. Claire also seems to fit what educational experts observe in artistically talented children: self-motivated, self-expressing, and finding much joy in doing so. Their developments and achievements in the arts do not solely lie on skill and ability, but also on acute perception, imagination, and what is called Aesthetic Intelligence, or A.I.
Claire’s A.I. is exemplified in how she deals with the space between lines, as well as the qualities of lines themselves. If the artistically talented are good at solving technical problems while not letting these limit their creativity, Claire’s paintings show how she can balance the two. Perhaps she is already accustomed to reconciling the conflicts and contradiction in daily life; life in Hong Kong v.s. Europe & America; nature’s trees v.s. the city’s concrete; vast open forests v.s. the compact city; natural v.s. artificial sceneries; as well as how to portray something dynamic and full of life onto a 2D canvas. She industriously seeks to combine the forests and fields with her everyday city life in Hong Kong - in Kwai Chung, Fo Tan, Wo Che, Yau Ma Tei etc. Although she paints familiar buildings in what seems like a realistic manner, her paintings contain idealistic proportions and harmony. These stand tall and high above the low foliage that unroll and extend, showing the vitality of nature weaving through the builders ambitions. Together they coexists, each brilliant, but also regulating one another.
Claire’s Banyan series reflects her artistic attitude as well as her life convictions: the banyans trees neatly planted in the Hong Kong soils, steadily growing and expanding, exemplify their strength in survival. In her paintings, the tree roots burst out of the confining concrete floors, capturing the artist’s attention. She describes them devoutly, letting them tell their own stories. We are just at awe by this young artist’s ability to integrate. She is evidently someone who loves peace and harmony.
(Translated from Chinese)
----
Professor Eva Man is the Head of Humanities and Professor of the Religion & Philosophy Department of the Hong Kong Baptist University. She has been the Vice-Chair of the Visual Arts Committee of the Hong Kong Arts Development Council from 2007-2013. She is currently a board member of 1a Space, an influential visual arts group in Hong Kong.
Claire’s parents studied French history and philosophy, and practiced what they preached. They enabled their daughter to grow up in a cultured and liberal environment. Claire’s life was filled with art and music: every time I stepped into their home, she would always play the piano and sing with a rounded, energetic voice. She seemed to express herself naturally from an early age, and was happy to share the beauties of the world with other people. Claire also seems to fit what educational experts observe in artistically talented children: self-motivated, self-expressing, and finding much joy in doing so. Their developments and achievements in the arts do not solely lie on skill and ability, but also on acute perception, imagination, and what is called Aesthetic Intelligence, or A.I.
Claire’s A.I. is exemplified in how she deals with the space between lines, as well as the qualities of lines themselves. If the artistically talented are good at solving technical problems while not letting these limit their creativity, Claire’s paintings show how she can balance the two. Perhaps she is already accustomed to reconciling the conflicts and contradiction in daily life; life in Hong Kong v.s. Europe & America; nature’s trees v.s. the city’s concrete; vast open forests v.s. the compact city; natural v.s. artificial sceneries; as well as how to portray something dynamic and full of life onto a 2D canvas. She industriously seeks to combine the forests and fields with her everyday city life in Hong Kong - in Kwai Chung, Fo Tan, Wo Che, Yau Ma Tei etc. Although she paints familiar buildings in what seems like a realistic manner, her paintings contain idealistic proportions and harmony. These stand tall and high above the low foliage that unroll and extend, showing the vitality of nature weaving through the builders ambitions. Together they coexists, each brilliant, but also regulating one another.
Claire’s Banyan series reflects her artistic attitude as well as her life convictions: the banyans trees neatly planted in the Hong Kong soils, steadily growing and expanding, exemplify their strength in survival. In her paintings, the tree roots burst out of the confining concrete floors, capturing the artist’s attention. She describes them devoutly, letting them tell their own stories. We are just at awe by this young artist’s ability to integrate. She is evidently someone who loves peace and harmony.
(Translated from Chinese)
----
Professor Eva Man is the Head of Humanities and Professor of the Religion & Philosophy Department of the Hong Kong Baptist University. She has been the Vice-Chair of the Visual Arts Committee of the Hong Kong Arts Development Council from 2007-2013. She is currently a board member of 1a Space, an influential visual arts group in Hong Kong.