來自捷克的藝術家馬偕．馬哈切克(Matěj Macháček)，自童年時期便對繪畫產生濃厚興趣，最早以木炭、鉛筆在紙上摸索作畫，很長一段時間浸淫捕捉自然界本質的寫實環境之中，為他廣泛而思敏的創作累積底蘊；2015年來到台灣參與藝術交換計畫，被他譽為重要的經歷轉折，從此掌握水墨和壓克力顏料為另一種創作媒介，目前馬偕的作品正於台北當代藝術館展出，關於創作、藝術以及捷克成長背景，馬偕一一與我們分享。
以下訪問Cacao mag簡稱C，馬偕．馬哈切克(Matěj Macháček)簡稱M
C：你最初是如何涉足藝術的？
M：我的父母都曾在藝術學校學習，我甚至還記得小時候第一次參觀畫廊和博物館的經驗，在一個強調創造力和工藝的家庭下長大，我將藝術視為生活不可或缺的一部分，並對藝術產生了深厚的愛；也因此在童年時期，我對繪畫便充滿熱情，嘗試過拼貼、水彩、水墨畫，甚至參加了陶藝課程，過去與家人一起遊歷巴黎、羅馬、佛羅倫斯等地，也參觀羅浮宮、奧賽博物館、烏菲茲美術館等藝術機構，諸如種種經歷讓我深刻體驗到了歐洲藝術史上的重要時刻。
C：你最早的藝術創作著眼於？
M：早年，我花了很多時間畫畫，主要使用木炭、鉛筆或墨水在紙上作畫，這是我藝術之旅的起點，我一頭鑽進創作寫實主義畫作，嘗試捕捉自然界的本質，熟悉的面孔，像朋友，鄰居農場的動物，或是我父親花園中果樹的生長過程等等。在當時那個階段，我尤其欣賞印象派畫家梵谷和莫內的作品。當我試圖描繪這些主題時，我深入研究了色彩的真正本質，學習如何透過不同的色調和各種筆觸技巧來建構空間，創造透視效果，以及傳達物體的不同質感。
C：你能詳細說明，你傾向探索的主題之於你作品的意義嗎？
M：在我的早期大型畫作中，我經常融合了我在旅行中所見的世界，我會畫下我從陽台或屋頂所能觸及的景象，捕捉地平線、風景，甚至城市上空高大的電塔的輪廓。這一切都與城市的氛圍、情感和光線有關。在這之後，我開始將這些戶外場景與我的個人回憶和物品結合在一起，包括自畫像上帶著弓、穿著祖父母雨鞋和手套的大型靜物畫，以及我個人記憶中的圖像。因此，我的藝術有兩條路線——一個是個人的，反映著我的經歷；另一個則是開放的，展示了一路上不斷遇到的新事物。
C：在捷克從事藝術創作會為你帶來成就感嗎？
M：我目前居住在布拉格，幸運的是，我在市中心附近的一棟舊工業建築內偶然發現了一間寬敞的工作室，這個空間讓我能夠創作並完成我的大型繪畫作品。同時，它使我能夠自由地旅行、參加駐地項目或在國外參展展示作品。一畢業後，立即轉型為全職畫家確實具有挑戰性，但我觀察到捷克藝術界正在朝著正向的方向迅速發展，而這種轉變為藝術學生和新興藝術家提供了寶貴的機會，讓他們得以充分致力於自己的藝術事業並培養他們希望探索的創意語言。
C：對捷克當前的藝術界有何見解？年輕一代容易被哪些類型的藝術所吸引？
M：在捷克當代藝術界，你會發現不同風格和主題的混合體，儘管捷克位於歐洲中心，卻沒有完全引領藝術世界，你可以發現年輕一代喜歡追隨全球藝術趨勢。然而，捷克藝術的特別之處在於藝術家如何使用個人語言和符號，轉換成自己的方式進而解決當前重大的全球問題，我不會說它可能很具體明顯，但它有一種獨特的優雅。作為一名畫家，我注意到捷克藝術中蘊涵很強的繪畫傳統，許多受人尊敬的捷克藝術家堅持延續傳統的媒介和技術，他們探索歐洲藝術史的同時探索關於自己的主題。
C：當代藝術在捷克受歡迎嗎？此外，你對捷克的藝術發展有何看法？
M：我們很幸運地見證了當代藝術推廣和教育的日益增長的趨勢。年輕一代的富裕人士對藝術展覽、藝術博覽會、參觀工作室以及建立私人藝術收藏表現出濃厚的興趣。這個過程中，他們積極支持年輕和新興藝術家，為後代鋪了道路。這種轉變非常大，在過去幾年中發展迅速，特別是與我還是學生時期相比。
C：作為一名捷克藝術家，你如何看待自己在國際藝術舞台上的地位？以及在此過程中，你遇到過什麼優勢或障礙嗎？
M：我一直非常欽佩和尊重那些敢於追求新事物的藝術家，即使他們面臨重重障礙，他們的奉獻精神和毅力都非常出色，並且經得起時間的考驗。在我自己的作品中，我認為它是獨特的、個人的，並以真實的繪畫技巧為特徵，這使我在當代藝術界處於一個相當獨特的位置。同時，我的作品能夠引起更廣泛受眾的共鳴，因為它植根於真實的經歷： 透過反覆前往不同國家、超越國族界限，並帶出共同的話題。
C：你對於在台灣展示你的作品有何感想？
M：參加台北當代藝術館的聯展是一次非常令人興奮的機會，可以向台灣觀眾展示我的新作品。有鑑於我的藝術深受這座島嶼旅行的影響，非常榮幸能參與由藝高人膽大的策展雙人組合盧芛和段沐主導的此次展覽。
C：在整個展覽過程中，過往的台灣經歷為你帶來了怎樣的啟發或影響？
M：展覽中有一個重要部分是策展人邀請我花幾天時間探索台灣東部並獲得靈感。因此，我在台北當代藝術館展出的五幅畫作都是基於那段經歷創作而成，也是我在布拉格的工作室為這個展覽項目特別完成的。這些畫作包括不同風景的元素，其中一幅突出的作品描繪了一隻巨大的狗坐在神秘的、藍色的地形上。這些藝術品的靈感來自我在那裡拍攝的素描和照片。
C：最後，你是否曾嘗試利用藝術作為解決特定問題的手段呢？
M：近期的作品靈感來自於我經常去台灣旅行，我在大自然中找到了我的創意源泉，然後將其轉化為這些神奇而神秘的景觀，這些作品迸發出充滿活力、飽和的色彩，似乎在散發光芒，這就像走進一個夢境，走進一個既陌生又誘人的地方，你可以在那裡隱藏起來，也可以開始冒險。這些藝術作品以其生動的筆觸，幾乎就像我們存在的抽象地圖，植根於真實的時刻和現實生活場景。它們自然地反映了我的個人經歷，但也觸及了更廣泛的主題，例如文化差異、跨越界限、個性和回歸本源等等。
C: How did you initially become involved in art?
M: Both of my parents attended art school, and so my connection to art, art history, and culture, in general, developed quite naturally. I have vivid memories of my earliest visits to galleries and museums from when I was very young. Growing up in a family that embraced creativity and craftsmanship, it made me see art as a fundamental part of life and gave me a deep appreciation for it.
Throughout my childhood, I enthusiastically engaged in drawing and painting, experimenting with collages, watercolors, ink sketches, and even taking part in pottery courses. My love for art extended to reading art books, and our family trips to places like Paris, Rome, and Florence. These trips allowed us to explore art institutions such as the Louvre, Musée d’Orsay, Uffizi, and other museums housing ancient art. These experiences allowed me to experience the significant periods of European art history.
C: Could you share your earliest experiences with art?
M: I spent a lot of time drawing during those early years, mainly using charcoal, pencil, or ink on paper. This marked the beginning of my artistic journey, where I often created realistic drawings, capturing the essence of nature, familiar faces, friends, the animals from our neighbors’ farm, the growth of fruit trees in my father’s garden and so on.
During this phase, I held a deep appreciation for Impressionism, particularly the works of Vincent Van Gogh and Claude Monet. As I portrayed these subjects, I delved into discovering the true essence of colors and learned how to construct space, create perspective, and convey the diverse textures of objects through color tones and various brushstroke techniques.
C: In your creative process, which mediums do you prefer to work with?
M: I was interested in many various art mediums and styles at first, and I tried as much as I could to understand them well and enjoy their specific characters. Most of the bigger paintings until 2015 I used to paint by oil paints directly on canvas.
After my first travel to Taiwan, it was when I exchanged to TNUA in 2015, I focus on large scale painting by ink and acrylic paints on paper, which I glue on canvas and stretch on wooden frame (stretcher) after. It was a very important moment in my art career and it established the technique I am working with ever since.
C: What led you to the idea of blending paper and canvas in your artwork?
M: My art is a fusion of European painting traditions and my experiences in Taiwan.
As I mentioned before, my move to Taiwan in 2015 had a huge impact on my art career. During my visit to Taiwan, it introduced me to larger paper sheets, sparking my interest in creating expansive watercolor works. This shift allowed me to communicate my artistic message on a grander scale. And this technique imparts the appearance of traditional European paintings while highlighting the importance of paper.
Initially when I was working solely on canvas, I consistently found myself in a state where I did not perceive the work as complete, and I consistently had the desire to return and continue painting. Painting on paper offers the unique advantage of showcasing the complete creative journey, including any imperfections, providing a genuine insight of my artwork.
C: Could you elaborate on the themes you tend to explore and the significance these themes hold in your work?
M: In many of my first big paintings, I used to explore the world around me when I traveled. I would paint what I saw from balconies or rooftops, capturing the horizon, bits of landscapes, and even those tall electricity towers hovering above cities. It was all about city vibes, atmosphere, and light.
Later on, I started mixing these outdoor scenes with my personal things. With paintings featuring self-portraits with a bow, big still-life arrangements showcasing my grandparents’ rain boots and gloves, imagery from my personal recollections. So, there are these two paths in my art – the personal side and the new experiences I’ve encountered along the way.
C: Furthermore, have you ever attempted to utilize art as a means of addressing or resolving specific issues?
M: My recent artworks draw inspiration from my frequent travels to Taiwan. I find my creative wellspring in nature, which I then transform into these magical and mystic landscapes. These pieces burst with vibrant, saturated colors that seem to radiate and glow. It’s like stepping into a dream, into a place that’s both unfamiliar and inviting, where you can either hide or set out on an adventure.
These artworks, with their vivid brush strokes, almost like an abstract map of our existence, are rooted in authentic moments and real-life scenes. They naturally reflect my personal experiences, but they also touch on broader themes such as cultural differences, crossing boundaries, individuality, and returning to one’s roots.
C: Does engaging in artistic pursuits in Czech Republic bring you a sense of fulfillment?
M: I’m currently based in Prague after completing my studies at the Academy of Fine Arts. Fortunately, I stumbled upon a spacious studio within an old industrial building near the city center. This space allows me to work on and finalize my large-scale paintings. Simultaneously, it grants me the flexibility to travel, participate in residencies, and showcase my work at exhibitions abroad.
Transitioning to a full-time painter right after school was a bit challenging. But I’ve observed the Czech art scene evolving rapidly in a positive direction. This transformation presents valuable opportunities for art students and emerging artists to fully commit to their artistic careers and cultivate the creative languages they wish to explore.
C: What are the insights into the current artistic scene in the Czech Republic? What kinds of art the younger generation tends to be drawn to?
M: In the Czech contemporary art scene, you’ll find a mix of different styles and themes. While we’re not exactly leading the art world despite being in the heart of Europe, you can find that the youngest generation like to follows global art trends.
What’s special about Czech art, though, is how artists tackle those big global issues in their own way, using personal language and symbols. It might not always be obvious, but there’s a unique elegance to it.
As a painter, I’ve noticed a strong tradition of painting in Czech art. Many respected Czech artists stick to traditional mediums and techniques, even as they explore their own themes alongside European art history.
C: Is contemporary art well-received within Czech society? Additionally, what is your perspective on the artistic development in Czech Republic?
M: We’re fortunate to witness a growing trend in the promotion and education of contemporary art.
The younger generation of affluent individuals has shown a keen interest in art exhibitions, art fairs, studio visits, and the establishment of their private art collections. In doing so, they are actively supporting young and emerging artists, paving the way for future generations. This shift has been quite significant, evolving rapidly over the past few years, especially when compared to the time when I was a student.
C: As a Czech artist, how do you view your position on the international art stage?
Have you encountered any advantages or obstacles along this journey?
M: I’ve always had great admiration and respect for artists who dare to pursue something new, even when they face numerous obstacles. Their dedication and perseverance are truly exceptional and stand the test of time.
In my own work, I view it as something distinct, personal, and characterized by an authentic painting technique. This places me in a rather unique position within the contemporary art scene. Simultaneously, my work can resonate with a broader audience because it’s rooted in real experiences, shaped by repeated travels to different countries, transcending boundaries, and addressing relatable and common topics.
C: How do you feel about showcasing your work in Taiwan?
M: Being part of this group exhibition at MOCA Taipei is an incredibly exciting opportunity to showcase my new works to the audience in Taiwan. Given that my art is deeply influenced by my travels to this island, it’s a true honor to participate in an exhibition hosted by the prestigious contemporary art Museum in Taipei, organized by the ambitious curatorial duo Lu Wei and Tuan Mu.
C: Throughout the exhibition process, what kind of inspiration or influence do you draw from your experience in Taiwan?
Mj: A big part of the exhibition’s concept was the moment when the curators invited me to spend a few days exploring the east side of Taiwan and get inspiration. Therefore, all five paintings I’m presenting at MOCA Taipei were created based on that experience and I finished them back in my Prague studio, specifically for this exhibition project. The paintings feature elements from various landscapes, and one prominent piece portrays a massive dog seated in a mystical, blue-hued terrain. These artworks draw inspiration from the sketches and photographs I took during my time there.
展覽名稱｜混血人
展期｜2023/8/19-10/15
展覽地點｜台北當代藝術館實驗展場MoCA Studio、MoCA Video
▌整理報導：Lili hu
