胡文偉 Wu Man-wai
飄雪 拾月 Early Winter
油彩布本 Oil on Canvas 
24 x 30 in
2014
 
月影 Full Moon
油彩布本 Oil on Canvas
16 x 18 in
2013
 
城市的故事 I Story of the City I
塑膠彩布本立軸 Acrylic on canvas, hanging scroll
208.3 x 78.7 cm
2013
 
城市的故事 II Story of the City II
塑膠彩布本立軸 Acrylic on canvas, hanging scroll
182.9 x 73.7 cm
2013
 
香港視藝口述歷史 
Hong Kong Visual Arts Oral History 
1973–2013

 
日期:2013年11月8日下午4時/11月8日凌晨12時
地點:香港-溫哥華長途電話
胡:胡文偉
編:編輯
 
胡:我加入VAS前是立體創作會(3D Club)的成員,跟VAS也算有點淵源。
 
編:怎麼說呢?
 
胡:VAS展覽和彈畫會,我和黎日晃都不時會去,就這樣認識了陳餘生、畢子融。畢子融先生在理工學院當老師,創作會不少會員都在那裡修讀延伸課程。對我來說,VAS是前輩,而我們是後輩。
 
編:所以入VAS也很自然而然了。
 
胡:1991年,畢先生當會長,就叫我入會,同期還有朱啟文。畢先生對後輩扶持很大,從來不為自己。
 
編:所以你跟VAS連繫起來的物件,就是Aser But(畢子融)了,看來你很敬重他。
 
胡:聽出來了嗎?嗯,我不太懂說話。
 
編:語氣已經很能表達這點了。加入VAS後,對你有甚麼影響嗎?
 
胡:變活躍了,也多了展出機會。
 
編:要加入畫會才能有展出機會吧?
 
胡:也不算,九十年代要爭取機會展出作品,但也不算難;再加上入了VAS,就更容易了。
 
編:還有其他原因嗎?
 
胡:VAS是最具代表性的藝術團體,很多人想進也進不了。不是作品好就行,要看這個人適合這個會嗎?他投入嗎?我也曾做過評審,要看其人品、人格,之前交往一下,看合不合得來。
 
編:提到VAS會想起甚麼呢?
 
胡:1999年我正式移民到加拿大,離開前那幾年跟朱興華、梁志明最熟稔,天南地北甚麼都談。記得梁志明最愛打麻雀,說能助腦筋精進。
 
編:這次會展出甚麼作品呢?
 
胡:是兩幅畫。
 
編:不是雕塑嗎?
 
胡:不是,畫布先剪成一條條,交織成一塊,再用國畫卷軸的方式裝裱,然後在上面用塑膠彩畫畫。我不想用傳統西畫的方式框死畫布。國畫的裝軸方式感覺比較自由,不像西畫的框,像衝不出去似的。
 
編:聽起來很有趣。
 
胡:不,不是的,你看了可能會失望。
 
編:不要太妄自菲薄嘛。作品關於甚麼?
 
胡:這是一個關於城市的故事。城市不是一天就可以建成的,藝術品也是如此,就像編織一般,要慢慢才能形成。
 
編:所以畫布是編出來的。
 
胡:沒錯。
 
編:很期待看到真跡。尤其因為你向來是做雕塑的,但忽然用了其他媒介來創作。
 
胡:以前的作品雖然以雕塑為媒介,但線條流暢,其實跟今次的媒材很相像,都是一種延伸的感覺,跟「自由」有關。今次的畫作中,有些線條會走出畫布外,就像作品的故事尚未完結,可能繼續有劇情,有生命,可以繼續下去。就是這種感覺。
 
 
Date: 16:00, 8th November 2013 / 00:00, 8th November, 2013
Location: Long distance phone call between Hong Kong and Vancouver
Wu: Wu Man-wai
Ed: Editor
 
Wu: I was a member of the 3D Club before I joined the VAS. VAS and me were somewhat related.
 
Ed: Please tell me more.
 
Wu: Lai Yat-fong and I often went to VAS exhibitions and the Danhuahui (Critique Gathering). It was there that we met Gaylord Chan and Aser But. Mr. But was teaching at the then Hong Kong Polytechnic. Many of the 3D Club members were enrolled at the extension courses there. For me, VAS are veteran artists, while we are the young ones. 
 
Ed: So joining the VAS was just a natural thing to do. 
 
Wu: Mr. But was the president in 1991, and he offered me an invitation. Chu Kai-man was also there at the time. Mr. But was very supportive to young artists and contributed selflessly. 
 
Ed: So Aser But was the “object” that link up you and the VAS. Sounds like you have a high opinion of him.
 
Wu: You got that? Well I’m not good with words...
 
Ed: It's in your tone. What impact did joining the VAS have on you?
 
Wu: I became more active, and had more chances to show my work. 
 
Ed: Did one have to join an art society to get in exhibitions?
 
Wu: Not really. It wasn’t so hard to get exposure in the 1990s, but it was easier if you were a member.
 
Ed: Any more reasons?
 
Wu: VAS was the most representative organization, its membership was very sought after, and not everyone could get in. It wasn’t just about whether you made good art, but whether you would fit in, whether you would contribute. I had also sat in its membership selection penal. We had to make decisions based on applicants’ personality and morals to see if we could get along.
 
Ed: What comes to mind when VAS is mentioned?
 
Wu: I moved to Canada in 1999. During the several years before I left I was closest to Chu Hing-wah and Leung Chi-ming, and we would chat about just anything. I remember Leung was a keen mahjong player, as he said it worked up the mind. 
 
Ed: What would you show this time?
 
Wu: Two paintings.
 
Ed: Not sculpture?
 
Wu: No. First, I cut the canvas into long strips, and have them woven into a mat, which was then framed as a Chinese scroll. Then I painted on the fabric with acrylic paint. I don’t want to confine the work in a western painting frame in which the view is locked up, whereas the Chinese hanging scroll would offer a freer sense of space.
 
Ed: Sounds interesting.
 
Wu: No, no, you might be disappointed. 
 
Ed: Don’t say that. Can you tell us what it is about?
 
Wu: It is a story about the city. A city is not built in one day, the same can be said about art. Just like weaving, it takes time.
 
Ed: So actually canvas for painting is also woven.
 
Wu: Right.
 
Ed: I look forward to seeing the real work. It is especially exciting because of this sudden change in medium. We all regard you as a sculptor.
 
Wu: All along I have been making sculptures, their fluidity of line has something to do with the medium of this painting, as they both create a feeling of extension and freedom. Some of the lines go out beyond the picture frame, just like an unfinished story with future life to be unfold. This is the feeling I’d like to convey. (Translated by Chan Lai-kuen)
 
 
1984年於香港理工學院進修基本立體延伸課程。1991年加入香港視覺藝術協會。香港市政局藝術獎(雕塑,1989)、香港市政局戶外雕塑設計獎(1994)。1995年作品被香港藝術館選為香港「藝術家系列」個人展覽,同年獲美國自由人獎學金。1996年前往美國佛蒙特州工作中心交流及創作。香港藝術發展局審批員。1999年移居加拿大。2004年獲加拿大Intemational Stone Sculpture Symposium(ECHO research Institute Canada)邀請進行雕塑創作。2002–2013年獲加拿大及美國多個藝術展獎項。
 
Wu has completed an extension course in basic 3-dimensional design workshop at the Hong Kong Polytechnic in 1984. He joined the Hong Kong Visual Arts Society since 1991. Urban Council Fine Arts Award (Sculpture, 1989), winner of Urban Council Sculpture Design Competition (1994). ln 1995 he won the full“Freeman Fellowship”to exchange in U.S.A and worked in Vermont Studio Center in 1996. His works were selected by Hong Kong Museum of Art“Hong Kong Artists Series Exhibitions”in 1995. Wu was appointed Hong Kong Arts Development Council Visual Arts Committee Examiners. He immigrated to Canada in 1999. ln 2004 he was representing Canada to join the International Stone Sculpture Symposium hosted by ECHO research Institute. 2002–2013, he won several awards from painting exhibitions in the Canada and United States.
胡文偉 Wu Man-wai
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胡文偉 Wu Man-wai

城市不是一天就可以建成的,藝術品也是如此,就像編織一般,要慢慢才能形成。 A city is not built in one day, the same can be said about art. Just like weaving, it takes time.
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