Brook Hsu’s paintings are living and breathing, fueled by a commitment to her visual language. Comfort and illness reside in verdant shades, amplifying the artist’s role as practitioner of care and synthesizer of personal experience.
Hsu insists that formlessness takes its own shape, resulting in an unbridled swell of abstract and figurative forms. Skeletons, girls and hares - expressions of animation within and beyond the mortal realm - emerge alongside efforts to maintain painting’s viability. Loops and lines commingle in sensuous fields of green and blue. Iron oxide enters as a violent sabotage, disrupting the more pensive hues while also providing complement to them: red as love and anger, green as tranquility and nature: It’s an unholy matrimony of opposites. Hsu just can’t seem to find her way out of green. Conceptual double binds execute the same tempestuous dance in her practice: love and death, violence and desire, bittersweetness. She reconciles differences by encouraging communion.
— Excerpts from text by Reilly Davidson
許鶴溪的繪畫是有生命的、呼吸著的，在其中充盈的是對其視覺語言的專注。恬靜和病態均棲息於她艷綠色的畫面中，強調了藝術家作為看護者及個體經驗合成者的身份。
許鶴溪堅持要讓無形之物獲得形狀，在創作時催生了肆意擴張的抽象及具象形式。骷髏、女孩及野兔——在有涯之生領域內外的生命體現——這些具象形象不斷湧現；藝術家亦同時致力於保持繪畫的潛能。另一方面，抽象的圓環及線條也在綠色或藍色的色域中交融流淌。在作品中時而出現的鐵鏽色則是暴戾的構陷元素，干擾了沈靜的畫面色彩，但也為其提供了補充：代表愛慾與憤怒的紅色，代表寧靜與自然的綠色——這是激烈對立面的不潔聯姻。許鶴溪似乎完全不能從綠色中逃逸。其創作在觀念層面的雙重綑綁結構總能跳出狂亂的舞蹈：愛與死、暴力與慾望、苦與樂。通過鼓勵分饗，她讓差異得以與彼此和解。
— 節選自萊利·戴维森所撰文章
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(About Brook Hsu)
Brook Hsu was born 1987 in Pullman, Washington, USA, and currently lives and works in New York. Recent solo exhibitions include: Kiang Malingue, Hong Kong (2022); Kraupa-Tuskany Zeidler, Berlin (2021); Manual Arts, Los Angeles, USA (2021); Bortolami Gallery, New York (2019). Group exhibitions include: Reference Material, Adler Beatty, New York (2022), The Practice of Everyday Life, Derosia Gallery, New York (2022), Sweet Days of Discipline, Hannah Hoffman, Los Angeles (2022); kaufmann repetto, New York and Milan (2021), More, More, More (curated by Passing Fancy), TANK, Shanghai (2020); LIFE STILL, CLEARING, New York (2020); The End of Expressionism, Jan Kaps, Cologne (2020); Polly, Insect Gallery, Los Angeles (2019-2020); A Cloth Over a Birdcage, Château Shatto, Los Angeles (2019); Finders’ Lodge, in lieu, Los Angeles (2019); and Let Me Consider It from Here, The Renaissance Society, Chicago (2018-2019). Her work is part of the collections of X Museum, Beijing; Long Museum, Shanghai. The monograph ‘Norwegian Wood’ was published by American Art Catalogues in 2021.
(關於許鶴溪)
許鶴溪1987年生於華盛頓州普爾曼，現生活和工作於紐約。她近期的個展包括：馬凌畫廊，香港（2022）；Kraupa-Tuskany Zeidler畫廊，柏林（2021）；Manual Arts畫廊，洛杉磯（2021）；Bortolami畫廊，紐約（2019）。她近年參加的群展包括：「Reference Material」，Adler Beatty畫廊，紐約（2022）；「The Practice of Everyday Life」，Derosia畫廊，紐約（2022）；「Sweet Days of Discipline」，Hannah Hoffman畫廊，洛杉磯（2022）；kaufmann repetto畫廊，紐約及米蘭（2021）；「More, More, More」，油罐藝術中心，上海（2020）；「LIFE STILL」，CLEARING畫廊，紐約（2020）；「The End of Expressionism」，Jan Kaps畫廊，科隆（2020）；「Polly」，Insect畫廊，洛杉磯（2019-2020）；「A Cloth Over a Birdcage」，Chateau Shatto畫廊，洛杉磯（2019）；「Finders’ Lodge」，in lieu畫廊，洛杉磯（2019）；「Let Me Consider It From Here」， 文藝復興協會，芝加哥（2018-2019）。她的作品被收藏於X美術館，北京；龍美術館，上海。American Art Catalogues於2021年出版了許鶴溪的最新個人畫冊《挪威的森林》。
