The Whispering rooms
2020
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This exhibition puts together a series of records, moments that have been offered to me by the atypical circumstances that I have been experiencing during recent months. Those artworks arise from my wish to analyze spaces stripped of what is meaningful to them. In this case, the persons inhabiting those spaces and who turn them in spaces. These non-spaces occupied my observation, as a sea with no fishes and algae or a desert with no sand. This was my reading when I wandered around the empty city alone, as if the city were a hiding place where every space turned an empty shelter. Where everyone became animals that hibernate and let the threatening time and their predators pass while they were sleeping, awaiting to being again.
The set of works that I present will be a possible representation of the weakened, isolated, permeable and visible idea in our eyes of the unoccupied spaces. A temporal record of the city where I live and which, like many others, was uninhabited, haunted by silence and emptiness.
In this context of having the city as a laboratory, empty of what makes sense: people, it was important to understand this transmutation in which we are forced to live.
In this series of works I used the mixed technique on paper. The total absence of figures in the space is one of the guiding lines to which this work proposes; to record what I have been observing during this year in Macau, to build an interrogative territory about what these empty spaces represent. This is how this exhibition is born, entitled: The Whispering rooms.*
* MARREIROS, Alexandre (2020), “The whispering rooms”, catalog, pp. 14-15.
2020
This exhibition puts together a series of records, moments that have been offered to me by the atypical circumstances that I have been experiencing during recent months. Those artworks arise from my wish to analyze spaces stripped of what is meaningful to them. In this case, the persons inhabiting those spaces and who turn them in spaces. These non-spaces occupied my observation, as a sea with no fishes and algae or a desert with no sand. This was my reading when I wandered around the empty city alone, as if the city were a hiding place where every space turned an empty shelter. Where everyone became animals that hibernate and let the threatening time and their predators pass while they were sleeping, awaiting to being again.
The set of works that I present will be a possible representation of the weakened, isolated, permeable and visible idea in our eyes of the unoccupied spaces. A temporal record of the city where I live and which, like many others, was uninhabited, haunted by silence and emptiness.
In this context of having the city as a laboratory, empty of what makes sense: people, it was important to understand this transmutation in which we are forced to live.
In this series of works I used the mixed technique on paper. The total absence of figures in the space is one of the guiding lines to which this work proposes; to record what I have been observing during this year in Macau, to build an interrogative territory about what these empty spaces represent. This is how this exhibition is born, entitled: The Whispering rooms.*
* MARREIROS, Alexandre (2020), “The whispering rooms”, catalog, pp. 14-15.
(A)typical whispering room
(非)典型耳語空間
鋁紙上的搪瓷、噴漆和數位
Enamel, spray and giclée paper on aluminium
220 x 220 x 80 cm
2020 Macau, China
(非)典型耳語空間
鋁紙上的搪瓷、噴漆和數位
Enamel, spray and giclée paper on aluminium
220 x 220 x 80 cm
2020 Macau, China
我以畫紙作為創作基礎。畫紙給我滲透性的支持，且錯誤率最低。畫紙讓我在工作過程中留下痕跡，相比畫布，畫紙讓我隨意修改錯誤。
在畫布上，我可以作更多的修正，例如在意料之作上重，又或是作失誤後的補救。圖畫或繪畫背後永遠有畫布或其他自立架，在自然狀態下它不會被認為是畫紙，紙的白色僅是紙本身，沒有痕跡或線條 — 祇是空白一片。
在畫紙上創作，奇妙而脆弱，作品被展示出來而不是覆蓋或填補工作架的空白。錯誤是創作過程中的一部分，因此也成了作品的組成部分。在這種不斷蛻變中，我的作品不斷發展，擴展到意想不到的領域，延伸到不同的方向，卻又保留我原來想表達的主題。
因此，這次展覽的作品呈現了這種真實，並不追求完美，卻是創作過程的真實體現，不以油彩或畫布掩蓋任何痕跡。這些意料之外的痕跡，讓我學習如何控制、從而成為我作品的一部分。
而只有紙張能給我指定這樣的起點和終點。我正是在這種對紙上痕跡或意外啓示的滲透中工作的，從不追求崇高的完美或建議，讓觀者驚奇。
在畫布上，我可以作更多的修正，例如在意料之作上重，又或是作失誤後的補救。圖畫或繪畫背後永遠有畫布或其他自立架，在自然狀態下它不會被認為是畫紙，紙的白色僅是紙本身，沒有痕跡或線條 — 祇是空白一片。
在畫紙上創作，奇妙而脆弱，作品被展示出來而不是覆蓋或填補工作架的空白。錯誤是創作過程中的一部分，因此也成了作品的組成部分。在這種不斷蛻變中，我的作品不斷發展，擴展到意想不到的領域，延伸到不同的方向，卻又保留我原來想表達的主題。
因此，這次展覽的作品呈現了這種真實，並不追求完美，卻是創作過程的真實體現，不以油彩或畫布掩蓋任何痕跡。這些意料之外的痕跡，讓我學習如何控制、從而成為我作品的一部分。
而只有紙張能給我指定這樣的起點和終點。我正是在這種對紙上痕跡或意外啓示的滲透中工作的，從不追求崇高的完美或建議，讓觀者驚奇。
回想佩德羅．卡伯里塔．萊斯跟大衛．巴徹勒的一次對話，佩德羅問大衛對他的創作有何看法。大衛回答說：“你總是不滿意自己的作品，所以再創作另一件作品。但是，世上從來沒有十全十美。所以也不必追求十全十美”。1
我認為紙上作畫是一種真實的想像 –一種毫無掩飾，真摯誠懇的反映在雪白畫紙上的想像。
正是這種畫紙作為主要骨幹的說法，令我認為紙是一個合適的主題，畫紙承載著我創作過程中的傷痕，因此，這些傷痕亦是我作品的重要組成部分。縱觀我的作品，我可以列舉出其中幾件作品的傷痕被治癒，被點、線、斑點縫合，甚至被掩蓋。我不是說我不會再利用這些解決方案，但每件作品都是獨一無二的，亦不受任何公式和教條規範。
這個展覽記錄了我最近幾個月在特殊環境中的經歷。我想通過這些藝術作品表達被剝奪了意義的空間，包括居住在這空間的人及其對空間的影響。這些非空間佔據了我的視線，就像沒有魚和藻類的海洋，或沒有沙的沙漠。這是我一個人徘徊在無人之城時的理解，城市彷彿成了藏身之地，每一寸空間都成了一個空置的庇護所，人們都在這些庇護所裏冬眠的動物，任由殘酷的時間和捕食者在睡夢中流逝，等待重生。
我認為紙上作畫是一種真實的想像 –一種毫無掩飾，真摯誠懇的反映在雪白畫紙上的想像。
正是這種畫紙作為主要骨幹的說法，令我認為紙是一個合適的主題，畫紙承載著我創作過程中的傷痕，因此，這些傷痕亦是我作品的重要組成部分。縱觀我的作品，我可以列舉出其中幾件作品的傷痕被治癒，被點、線、斑點縫合，甚至被掩蓋。我不是說我不會再利用這些解決方案，但每件作品都是獨一無二的，亦不受任何公式和教條規範。
這個展覽記錄了我最近幾個月在特殊環境中的經歷。我想通過這些藝術作品表達被剝奪了意義的空間，包括居住在這空間的人及其對空間的影響。這些非空間佔據了我的視線，就像沒有魚和藻類的海洋，或沒有沙的沙漠。這是我一個人徘徊在無人之城時的理解，城市彷彿成了藏身之地，每一寸空間都成了一個空置的庇護所，人們都在這些庇護所裏冬眠的動物，任由殘酷的時間和捕食者在睡夢中流逝，等待重生。