Recently I visited the “Matisse in the Studio” in RA, it may not be perfectly fitted to audiences purposing in being soaked by Matisse’s greatest works, but it is an meaningful exhibition to assess further understanding to the linkage between his keenness and style.
The Arabia patterns, Chinese potteries, furniture and Africa masks of Matisse’s collection shown in this exhibition, reveal that his painting “style”, (such as the simplified figure contour) did not come from zero, but came from being highly fascinated to his interest. It is a nice exhibition to dis-mystify the “style of a master”.
Matisse (also lots of artists) made himself being surrounded by his keenness, and nowadays, before discovering self-keenness, we are firstly surrounded by “Information”. If Matisse’s prior action in his studio was to “look and feel”; our prior action seems to be “read and think” in the ocean of information. Is that the “pleasure to conception” more expanding than the “pleasure to perception”?
Well actually, I am thankful to Contemporary Art because she employs “Context” as a personnel manager that makes everything to be readable and understandable, even if we don’t like a work, we could read it, and ethically, we need to read it. This is an inclusivity liked an embrace.
However, being over-inclusive maybe resemble to a swamp, trapping and submerging too much.The highly readable art-world respects the diversity, but on the other hand, is it breeding the artworks that can merely be readable for audience, and even for artist? Or, it maybe arrogant to generalize and criticize other’s think and feel.
Wai Kit Chan, Hector