Light
Furze Chan
Colour Pencil Drawings
Solo Exhibition

Artist Furze Chan has been devoted to colour pencil drawings in recent years. This solo exhibition displays a series of 11 workpieces by Furze under the theme Light.
The drawings on display depict light and shadow in the form of time. As the imagery under the sun is never still, the dappling light and shadows across every moment turns time into a visible format. If a particular moment of light and shadows is captured onto a drawing, time became still. We are able to stare at the drawing as long as we wish to. 
Furze used photographs she took and collected as visual reference. Whether the featured subject is a forest or a blossoming field, what Furze is trying to depict is a certain expression of state rather than a describable emotion. Similarly to the state of nature, there are phenomenons but never defined conclusions. 
Under the theme Light, Furze explores the use of colour pencils in an unconventional way. The theme Light and the drawing techniques are parallel. She insisted to draw only under natural day light, applying strokes as gentle as possible. Airy shades were gradually layered into structures, allowing the various expressions of Light to be carried within.
However, the manipulation against the technical nature of colour pencils and the abstractness of the subject often led to exhaustions from the eyes. Therefore, Furze would carry out retouches on a “finished” work piece repeatedly until its final completion. Some of the works took up to two and a half years to finish. 
Furze considered the framing of the drawings a part of her art. All drawings were installed into picture frames of solid wood by herself. From the size of the picture frame to the white space of the framing mat board, they were all thoughtfully designed to achieve the best viewing format.


光
陳嘉儀
顏色鉛筆畫
個展

藝術家陳嘉儀(Furze Chan)近年專注於以顏色鉛筆手繪作畫，是次個展《光》展出11幅顏色鉛筆畫作。
展覽《光》通過描繪光影來刻劃時間。斑駁的光影在日照下持續流動，假如光變幻不定的特質從屬於時間，畫紙上的景色正好補捉了其中一瞬，在框架內塑造出時間的具體形象，讓觀者可注視良久。
《光》的作品以Furze拍下或收集得來的照片作藍本，或是枝葉婆娑，或是繁花似錦，畫作希望表現一種自然而然的面貌，而非帶有感情的情緒狀態。所謂自然，即是一個存在的現象，從不對定義作出結論。
回應著「光」的主題，畫作運用了不一樣的繪畫方法來試探顏色鉛筆柔和的極致。藝術家堅持在日光下作畫，筆觸盡可能地放輕，當線條慢慢消失至無跡可尋，顏色層層的交疊反而釋放出另一種空間，織成一個似有還無、輕柔如紗的網，讓光線落入其中。
然而，顏色鉛筆的繪畫特點及光線的抽象感大大增添了繪畫時體力及視覺上的疲勞，每次作畫在專注力達到臨界點後，藝術家必須暫停一段時間，待日後於適當時機繼畫或修飾，使創作過程出乎意料變得漫長，部份作品創作更長達兩年半之久。
Furze視裝裱為作品的一部分。從作品的尺寸，到墊板的留白空間，均是她精心設計並親自裝裱在實木畫框裡，希望呈現最理想的觀賞效果。