【以反覆之名:索迪絲式的永劫回歸 | In the Name of Repetition : Searching for Thordis's Eternal Return】

NUNU FINE ART
Mar 14, 2020 7:54AM

熟悉Thordis作品的人必然會注意到其作品中標誌性反覆現蹤的壁紙花紋紋飾。透過這些紋飾,Thordis意欲向觀者傳遞怎樣的密碼化訊息?也許我們可以藉推敲藝術語言的符號系統,嘗試開展解碼行動。Those who are familiar with Thordis's work will inevitably notice the iconic repetitive wallpaper pattern in her work. What cryptographic message does Thordis intend to convey to viewers through these decorations? Maybe we can try to decode them by parsing the symbol system of artistic language.

在索迪絲.阿德丹斯多堤作品〈奧爾嘉.朵卡荻 〉中的反覆圖樣。The repetitive pattern in Thordis Adalsteinsdottir's work "Olga Tokarczuk"

Thordis以「反覆」為名洞見了新生的可能。捎來巴洛克繁複唯美的綴飾風格,雜揉扭曲纏繞的幾何圖樣,乃至乍看荒誕突異的細密藤紋,在其超扁平的視覺語法中,帶領觀者輕撫晦澀人性切片的厚度。以另種角度咀嚼玩味,更可以是畫面中人物、貓咪、幼犬的解構、讓生與再顯影。

Thordis gives birth the possibility of innovation under the name of "repetition". Here comes Baroque's complex and beautiful embellishment style, the distorted and twisted fragmented geometry, and even the absurd and unexpectedly dense vine pattern. In Thordis's ultra-flat visual grammar, it leads the viewer to caress the thickness of obscure slices of humanity. If we play with her works from another angle, these repeated patterns can be the deconstruction, rebirth and re-development of the characters, cats and puppies in the picture.

在索迪絲.阿德丹斯多堤作品〈兩個女人、酒、檸檬、藥丸與手機 〉中的反覆圖樣。The repetitive pattern in Thordis Adalsteinsdottir's work "Two Women, Booze, Lemon, Pills, and Phone"

在索迪絲.阿德丹斯多堤作品〈灰貓與食物及手機 〉中的反覆圖樣。The repetitive pattern in Thordis Adalsteinsdottir's work "Grey with Food and Phone"

譬如可見於〈兩個女人、酒、檸檬、藥丸與手機〉中,後方壁紙樣式般反覆的水藍幾何圓圈和攀附生長其間的菱形圖示,彷彿前景兩個女人的微觀縮影,其形體和呈色碎散、失形於視域的彼岸,反覆控訴著世俗枷鎖下芸芸眾生對於同性婚姻不懷好意的瞪視。又見於〈奧爾嘉.朵卡荻〉一作中,藝術家以悖論式的平壓比法鋪展自然界中蕨葉紋樣的生命力,更呼應著畫作所致意的諾貝爾文學獎得主、波蘭女作家在《太古和其他的時間》中所搭建人類與物種跨界混生的魔幻空間。而在〈灰貓與食物及手機〉中,芥末黃、海軍藍、青綠色共築的磚紋壁飾間奏式失序反覆,悄然洩漏了灰貓覓食與逃逸的蹊徑。

For example, it can be seen in "Two Women, Booze, Lemon, Pills, and Phone", The water-blue geometric circles and the diamond-shaped icons that grow in the background are repeated in the wallpaper style, as if the microcosm of two women in the foreground, their bodies are scattered, separated and disfigured on the other side of the horizon, repeatedly accusing the hostility of all beings to same-sex marriage under the abduction of moral value. Also seen in her work of " Olga Tokarczuk", the artist uses paradoxical super flat visual composition to spread the vitality of fern leaf patterns in nature. It also echoes the magical space where human beings and species coexist in the novel "Primeval and Other Times" written by Polish female writer, winner of the Nobel Prize in Literature Olga Tokarczuk. In "Grey with Food and Phone", the brick wall murals mixed of mustard yellow, navy blue, and turquoise, which quietly leak the gray cat's path of searching for the food and for escape.

Thordis視覺語言的同義反覆(tautology),部署筆下人與動物模糊曖昧的心理地圖,更領航觀者在心靈範疇超脫到永劫回歸下的虛無主義,提供了觀望殘酷現實的另種輕盈可能。

Thordis takes advantage of the tautology of visual language to deploy vague and ambiguous psychological maps of humans and animals. It also leads viewers to surpass nihilism in the spiritual category to the level of eternal return, providing another lightness of watching cruel reality.

NUNU FINE ART