During the creation process of Hazy Cliff II, Yau Wing Fung works on thin cicada paper, which he rinsed before painting. He then captured a hazy atmospheric effect with broken ink (破墨) and splash ink (泼墨) techniques on the washed paper. The wrinkles and fiber hemps are made visible by brushstrokes and ink splashes draw attention to the physical surface of the painting. In addition, clouds and water, which lack stable shape and scale, make the composition inherently ambiguous. Viewers can hardly tell the water apart from the sky. All of these details flatten the pictorial space. In his recent works, Yau portrayed his imagination of a space through brushstroke instead, weakening the focus of the composition and the usage of smudging ink technique. The depiction of mountainous stones is combined with smudging techniques to create a dynamic and engaging visual experience.


邱荣丰
蜃壁 II，2022
水墨设色纸本
24 5/8 x 24 5/8 英寸
62.5 x 62.5 厘米

在创作作品《蜃壁II》时，邱荣丰首先将蝉衣纸洇湿，然后以破墨和泼墨的方式在纸张正反面都进行湿染及擦染，描绘出水气氤氲的效果。蝉衣纸薄且半透明的特性，经托裱后，将画心背面所画的烟云于画面正面若隐若现地呈现。另外，云和水都没有固定的颜色、形状和体积，这让观者很难确定画中天空和水面之间的距离。以上这些画面的特点都让空间更趋向平面。在近期作品中，邱荣丰更加倾向使用笔墨描绘山石造型，在笔触的连带关系下，每笔之间的转换都表达着当刻的内在精神和感受，弱化了对于整体画面结构的注重以及使用染色的方式。画面中对山石肌理的描绘，穿插于晕染的墨色中，形成一种动态的视觉感官。