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“我孤独地漫游，像一朵云” －威廉·华兹华斯

“I wandered lonely as a cloud” －William Wordsworth, Daffodils (1807)

多伦多复合媒体艺术家Stev’nn Hall的画作模糊了摄影和绘画的界限，在他笔下这些有着真实原型的场景被赋予了更多的内涵。着色、刮擦、再润色，锐利的笔触和饱满的颜色带来的强烈视觉冲击让人不禁沉迷其中。

Stev’nn Hall曾频繁返家照顾并最终送别了病魔缠身的父母。这一系列创作于该时段的作品不可避免的带上了让人心碎的美丽。生命、爱和失去混杂其中，迷人的哀伤来势汹汹。

In SKYLIGHT, Toronto mixed-media artist Stev’nn Hall takes us on a fieldtrip of real places that remind him of his past but are now fictionalised by his creative imagination. The work blurs the borders between photography and painting. Through his process of staining, scratching and embellishing the image with sharp brushstrokes and raw colour, Hall’s transformation of these scenes is beguiling. A new world appears to be blooming before our eyes.

The images appear magical and somewhat menacing – at once ravishing and ravaged. The fact that the series was conceived during Hall’s frequent trips back to his hometown to care for (and inevitably, to bury) his cancer-stricken parents marks the work with a beauteous heartache. Life and love and loss are all tangled up here.

19世纪浪漫主义时期的诗人和艺术家们都曾痴迷于云。当时气象学仍处于发展之中，长时间宗教艺术中扮演背景的云突然之间被推上了舞台的中心，卷云、层云、高积云成为了风景画和浪漫主义思潮的主角，出现在各种作品中，天气和光线不再仅仅是风景中被捕捉到的一个瞬间，更是作者宣泄情绪的窗口。而云，则是那最致命的一击。在那里理性被压制，而想象力和情感占据了上风。

Hall笔下这些庄严的场景，构成了他为自己打造的虚幻世界。作品中的光线绚丽中夹杂着一丝苦涩，一种发自内心的悲伤，但也包含着希望。这些系列作品仿佛展示了从朝拜到自我觉醒的过程。作品的名称也充满了精神上的力量，每件作品都能带给观众深刻的体会。在Hall作品里，天光代表着自我解放的道路－无论人生中遇到何种挫折和打击，我们都将涅槃重生。就像云一样，在高空起伏涌动，不断变化却始终存在。

The lyrical poets and visual artists of the 19th century Romantic period had a thing for clouds. Meteorology was still a developing science and a system for the classification of clouds had only been introduced in 1802 by a young British chemist and amateur skywatcher with a taste for Latin terminology. Suddenly – after so long lurking in the background of religious art – the cirrus, stratus and high-flying cumulus took center stage in the new fashion for landscape art and Romantic thought. Clouds billowed to prominence in the paintings of John Constable, stormed through J.M.W. Turner’s work and elevated the psychological drama of Caspar David Friedrich’s lone figures.

But its birth is a rough passage as much as a radiant experience. The weather and light that permeated a landscape were no longer simply a transitory effect but now an emotional experience. And clouds could pack a psychological punch.

The Romantics, as does Hall, contemplate nature, with all its potential for the sublime. Or better stated, The Sublime. In its original context, the word and idea commanded stature. It was the opportunity for revelation – for an exalted sense of our place amidst the chaos of an unknowable universe through a communion with the ethereal grandeur of Nature. The awesome beauty of the world could act as a catharsis, an ecstatic release into pure sensation.

Reason was ruled out so that imagination and emotion could triumph.

These are sublime places seen by a tough bruiser of a romantic determined to create for himself a more imaginatively vital world. The light that falls across this spellbound earth is gorgeous but bittersweet. Heartfelt and heartbroken. But these scenes are not without hope. The images in Skylight are like epic postcards from a pilgrimage into self-awareness. Every one has the potential for an epiphany. Even the titles thunder with spiritual potency – Witness, Communion, In Plain Sight. In each, there is an opportunity for a profound experience. In Hall’s active imagination, a skylight becomes a portal into personal liberation. No matter what blows up in life, Hall suggests that we are free to shift and change and become something new again. Just like a cloud. So drift on and up and into thin air dreaming as you go.

Copyright BARRY DUMKA 2014. All rights reserved.

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