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FOREWORD from Aser But 畢子融 , David Chow 曹添和 and Stanley Wong 又一山人

李廣添首次個展序言

-建章於平凡事,但顯出無比的投入。

對在香港土生土長的畫人來說,要當一位職業畫家,是談何容易。不過作為年青人,每人都擁有燃燒理想的時代,代表他無懼挑戰的勇氣。在自然成長中,能配合天時、地利及人和,再經一番鍛煉,尋尋覓覓間得以醒覺;瞭解藝術的真諦後,重估藝術對自己個人靈修的重要性。

以上短短的句子,可以概括地道出李廣添走過的成長路,同時也是每一位喜愛藝術的青年所必經途徑。於奮鬥之路上,所有香港青年都先充滿希望,不過在體驗創作時,常常遇上波折而放棄。但很多藝術家一面生活於孤獨間,另一面從創作中感性地尋回自己。因此,每評一位藝術家的得失,我們最終都要放眼他的未來。

回看廣添走過的路,他於八十年代接受理工學院嚴格的設計訓練。畢業後,晉身廣告設計的專業,打拼了他的火熱年代。作為過來人的我,及廣添的師輩,能分享他三十多年的奮鬥成果,對一位教師來說,也是一椿光榮的事。今天他以嶄新的塑膠彩畫,首次展示他無比的用心,經畫筆打造他的色彩世界,以正面角度重塑香港的美麗風情,將香港這個著名的石屎森林,沾上了漂亮色彩。畫中個別事物,通過漫不經意的構圖,從平凡的生活中尋找滿足。廣添的一切立點,都是從本土環境獵取,同時將香港這個商業社會,開發出不平凡的創作氣度。宏觀
廣添的畫作,總覺得他的描寫能力高超;畫中的景象,不論是取題風情,或走卒小販及停泊岸邊的小艇等,都是經一番長時期的觀察和描寫。他所思所感,不是霎時的衝動,而是靠他長年累月對藝術的愛慕及觸覺。換言之,廣添以自己的終身事業作為切入點,重新塑造自己的未來。

在香港當藝術家,面向困難重重,這是人所共知的事實。幸好,廣添自一九八四年開始,能學以致用。他的設計、插畫雙專業的技能,確保了在廣告界的長期發展。今天,廣添這批新塑膠彩畫,除能展示他的藝術才華外,還使人認識一位有為青年的成長路。

最後,在來年日子裹,我想愛他作品的人,應給予他大力支持和鼓勵,作為昔日師長的我,願廣添能掌握機會,繪出不平凡的人生;在未來的日子,論盡人間美景!

畢子融

前香港理工學院高級講師(前兼讀課程主任)

20158

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27 January 2015

Foreword

“Hong Kong in a Better Light” by Jackson Lee

I have known Jackson since he was my student at Hong Kong Polytechnic University over 33 years ago. He studied illustration and always have keen eye for composition. I was not surprised when, after graduating, he spent many years in the world of advertising as an Art Director then Creative Director. From there he went on to work as an image consultant for Leon and other celebrities, before eventually running his own successful fashion business here in Hong Kong.

Even after so many years, I found that his quest for perfection has never ceased and it has become a necessity for everyone in Hong Kong to see Jackson’s work.

In his spare time he would paint, and what began as a creative outlet eventually developed into a very unique and personal style. He told me how this idea of “Hong Kong in a Better Light” came about. He said, this idea has been in my head for quite sometime, Hong Kong is slowly disappearing; many old buildings have been demolished to make room for the modern skyscraper -- for the sake progress. This is happening everywhere; from the countryside to the outer islands as well.

In the 80’s, while still a student, Jackson was exposed to Realism. One of artists that caught his attention was Ken Danby; his focus was always on everyday life on the farm in Canada. His medium was egg tempera and Jackson was fascinated with him ever since. This form, from the subject matter to the technique, inspired Jackson’s paintings. The paintings are richer than a photograph, with an amplifying texture, depth and details that are pre High Definition technology. The result is an image that, like a photograph, captures a moment in time, but like a painting, captures emotions and details only the brush can create.

These are pictures of what used to be fishing villages and are now becoming a weekend getaway for city people.  A year ago, Jackson was spending a leisurely Sunday with the family at Tai O, (a fishing village partly located on an island of the same name, on the western side of Lantau island in Hong Kong). It is still quite peaceful and the locals still carry on their traditional crafts of making salted fish and shrimp paste.  A footbridge has been built where before the only way across the waterway was by boat.

Looking around the beautiful scenery of this proud village, Jackson was struck with the realization that soon this tranquil place would be lost to urbanization. And with it, a piece of him and all people of Hong Kong would be lost as well. This filled him with a sense of sadness, but also lit a creative spark within him.

If I can capture all these images, he thought, then this will live on forever for others to appreciate, enjoy, and defend!  Suddenly he was faced with something more than just an art project, but an important mission. That’s how this journey of “Hong Kong in a Better Light” all began. It is just as much about preserving a way of life as it is about creating beautiful imagery.

For a better Hong Kong tomorrow, let’s appreciate “Hong Kong in a Better Light!” today -- and be inspired!

David Chow

Adman, Film Producer, Lecturer and Chef (not in that order.)


前言

李廣添“畫.好香港”

我在33年前在香港理工大學任教時我已認識了Jackson這個學生。他當時在學習繪畫,他的眼睛對圖案組合充滿熱情。我完全不觉得奇怪他在畢業後在廣告世界花了很多時間擔任美術總監及後來當上創作總監. 再後來,他繼續發展到成為演藝明星Leon 的形象顧問,到后來在香港成功地開拓了他的時裝業務.

經過了那麼多年, 我覺得他對追求完美的渴求從未有停止過.這成為現代香港人必須看看Jackson作品的精神.

在他的閒暇時間,他會繪畫-由開始時是一個創作通路續漸發展成他獨特及個人的風格.他告訴我他的’好香港’意念來源. 他說這個意念已在他腦海內盤旋了好久,香港好像在慢慢地消失.很多老建築物都因為要進步而要改建成現代的高樓大厦而拆掉. 這情況隨處可見-從郊外而至離島均不例外.

在80年代时當Jackson 還在求學階段,他接觸到現代主義, 其中一個抓住他注意力的藝術家是Ken Danby. 他的作品永遠集中留意著加拿大農場的日常生活.他的媒介是’egg tempera’, 從當時開始,Jackson 就迷上了他.這種形式, 由目標主題至技巧, 啟發了Jackson的繪畫. 他的繪畫比照片更豐富. 利用放大了的質感,深度與細節形成了高清的科技境界. 結果他做出來的是一個像相片般捕捉了一個頃刻的影像. 但它却是一幅包含了情绪及只有画笔才能创造的塑膠彩作品.

照片中原是魚村的地方现今成為了城市人的週末消閒的好去處. 年前與家人到大澳消閒,(大澳是一條地處於同名的小島的漁村. 位於香港大嶼山島的最西面). 大澳現是還是蠻平靜的.當地人還是沿用傳統工藝製作鹹魚及蝦醬. 以前只能以小艇連接大嶼山的大澳,現在已建了通往大澳的行人橋.

當Jackson在大澳島上遊覽這個驕傲的漁村時, 他強烈地感覺到這個恬靜的地方將來也會逃不過被城市化吞噬的現實. 在那時,他覺得他會跟香港人生命一樣會失去了一個部分. 將來的這情況給他灌注了悲哀的的感覺. 同時也燃點起了他的創作火花. 

他想如果我能把這些影像捕捉下來, 它們便可以永遠被保留,讓所有人可以感激,享受及保衛. 忽然間他就面對一個大於藝術的項目. 而是一項使命! 這是” 更光明的香港” 旅程的開始. 它會保存一個生活方式,也是有關於創造美麗的影像.

為一個明天更美好的香港, 我們今天來感激” 好香港”, 的啟發!

曹添和

廣告人, 電影製作人, 大學講師及廚師(次序不分先後)


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好香港.好和真之間

與Jackson在廣告公司共事微時,一別差不多三十個秋冬。

還記得帶點少年傲氣,寡言的他,畫功是他至強項; 也算是他在廣告運作中的找食才能吧。往後得知他轉至商業美術指導其他工作崗位去了,就一直沒有他的消息。直至年初,Jackson告訴我今次再拾畫筆,心裡帶點好奇及為他高興,竟,五十知天命,執行心裡呼喚自己的工作/事情,豈不是樂事。

看他  ”畫.好香港”  塑膠彩畫系列由香港大澳出發以超寫實筆法,表達他心底裡  ”好香港”  之樸實,坦誠﹅奮鬥和睦鄰,也正像我以紅白藍推動香港正面積極之精神同一路上,心中倍覺感動。以藝術﹅個人創作,彰顯社會價值,一直是我最關心及認同的。

再看再看,一時間想起數年前我總結在下三十年創意生涯之”三十乘三十what’s next”創意對話及聯展活動中與台灣國寶雕塑家朱銘老師之對話一節:

朱銘: 有些朋友認為藝術跟「真」﹅「善」﹅「美」沒有什麼關係; 其實藝術追求的就是「美」。這三個字是很奧妙的安排,如果沒有「真」,做人都不真實,不踏實; 沒有「善」,做人沒有善心,做任何事都沒可能辦得好,那怎能得到美呢? 「美」是最高的境界,一定要先有「真」和「善」兩個條件才能得到「美」…「美」不是藝術的專利,可以是做人的美德…

以上是朱老師在二千年跟我一席話,十分啟發性之感言,正好借用來送給Jackson是次展覽,心裡由衷之話,跟他說句互勉。

最後,也了解Jackson是次畫作過程中,學習到自我溝通﹅檢視忍耐及謙卑… 再附上朱銘老師另一句我畢生受用的座右銘: 藝術就是修行。



又一山人 合十 2015年/10月/