LEONG HOI SA
梁 海 莎
春蕾---梁海莎的石雕藝術
江衍疇
美國雕刻家約翰梅森(John Mason,1927-)曾經以布朗庫西(Constantin Brancusi, 1876-1957)的名作<睡著的謬思Sleeping Muse,1910>為對象，創作了同名作品，傳達個人對雕刻史的回應，演繹了後現代思潮下的美學關懷。
延續相似的研究路徑，梁海莎的石雕作品也表現了歷史閱讀下的創作思考，將藝術感知逐步闡釋出來。作品<黑與白>探討了材質差異對視覺造形的影響，試圖突破抽象雕刻的語言侷限。
這種後現代模式的歷史連結建立了梁海莎的創作美學，讓作品中的具象意識更強烈，形式語言更富象徵性，也更能述說年輕女性的生命感知。
作品<如水>將白色石雕放置在水景中央，再現希臘神話中的感性意象。以維納斯自海中貝殼誕生，以及水仙(西瑟斯Narcissus)的臨水照映，投射心中的美麗懷想和孤芳自賞。
石雕作品<春>三件一組，或立或躺，陳列在戶外造景，有如群舞。這件作品挪借了文藝復興畫家波提切利(Sandro Botticelli,1445-1510）的名作 <春Allegory of Spring,1482>的三美神形象，言說年輕女性的美德價值 : 美麗、貞淑和歡悅。這件作品也與宋代錢選的畫作<牡丹蝴蝶圖軸>中的三朵白卉佈局相似，顯見關於美麗女性的讚頌，隔代千年、始終如一。
東方造形美學的確可以在梁海莎的創作中得到關注環節。石雕<萌>以開放不一的苞葉，表現迎風而立的姿態，傳送含苞正放、青春有時的女性呼喚。參看明代陳洪綬的畫作<花鳥蟲寫生册>，圖中粉紅色心型花瓣的紛紛開落，動態十足的描繪，確實是戀慕的舒放。
材質研究和造形構想在石雕作品<亭>中得到進一步的結合。這件矗立在水中的蓮瓣，以獨立、深色、堅硬的造型表達女性意志，投射出創作者的個人性格和精神狀態。對照齊白石<墨荷>中的老練沉穩，年輕藝術家的雕刻線條剛直不屈，書寫出另一種東方情趣。
Spring Bud --- The art of stone carving by Hoi-Sa Leong
Yan-Chou Jiang
American sculptor John Mason (1927-) once took the subject of renowned Sleeping Muse (1910) by Constantin Brancusi (1876-1957) to create a piece of work by the same name. It conveyed a personal reflection of sculpture history while deduced an aesthetic passion under post contemporary stream of thought.
Inherited with a similar research pathway, Hoi-Sa Leong also expressed her stone carving with a creative thinking inspired from reading the history and gradually reveal the sense of art. The work of “Black and white” explored the impact of various materials to the visual outlooks, trying to break through linguistic restriction of abstract carving.
Such history of post contemporary model established a creative aesthetics of Hoi-Sa Leong. It made the work further enhanced a tangible ideology, while formalized language became more emblematic, which can better depict the perception of live by a young female.
The work “As water”, arranged a white stone carving in the center of water landscape to represent once again a perceptual image of Greek mythology. Utilize the birth of Venus form the shell in the ocean and mirror image of water fairy (Narcissus) from the water, to project the beauty of inner affection and indulge in self-admiration.
The stone carving of “Spring” is a portfolio of three pieces of works. They either stand alone or lie down at outdoor like a group of dancers. It borrows the famous images of three beautiful Goddess by Sandro Botticelli (145-1510) who is a painter from Renaissance. It narrate the value of virtue on young females—beauty, chastity and joy. It is also very similar to the composition of three hundred white flowers on“ Peony and butterfly scroll ”by Qian Xiam from Song dynasty. It demonstrated that the eulogistic chant regarding the beauty of female is still homogeneous even after a thousand years.
The portfolio of Hoi-Sa Leong really touched the key of oriental aesthetics profile. The stone carving of “Sprout” utilized various stages of subtending leaves to present the gesture of standing against the wind. It conveys the call of a young female with buds getting ready to burst. Referring to the paint of “Sketch of flower, bird and bug” by Hong-So Chen from Ming dynasty of which the pink heart shaped petals are blossoming and falling. The dynamic depiction truly unfold a tender feeling.
The stone carving of “Stand” further combines material research and profile construction. The lotus petal protrude in the middle of water reveals the volition of female via independent, deep color and rigid profile which projects the personal character and mental status of the artist who created this work. In comparison to the matured stability of “Ink lotus” by Bai-Shi Chi, the carving by young artist has a firm and straightforward line which stated an alternative oriental delight.
萌 Sprout
如水 As Water
黑與白 Black & White
亭 Stand
春 Spring