High Life

HIGH LIFE 45 也因此为了这次的里斯本展 览，黎小杰带了将近一万五千块“花 砖”前往，再依据现场场地空间的 需要，进行第二步的装置创作。 “这次的展览是我四年来的累 积，因此花砖系列带了七八个样 式，一共呈现出来十组作品，其 中最大的一组快要七米乘以三米 多。”黎小杰饶有兴致地回忆道， “大部分作品是现场拼的，连续拼 了十天，每天工作十二个小时。但 还好有现场工作人员的帮忙，所以 这次的展览也很有趣，有很多人参 与其中。” 谈及此次出国开展的感受，黎 小杰感慨地说，在当地也见了一些 艺术家朋友，之后才发现其实大家 面临的处境都是相同的——收入不 稳定，租不起工作室。 “普遍都是同样的问题。”他 说，“但我觉得还是要自己面对， 想办法去解决（收入）这个问题。 “我从来没想过自己要达到什 么样的艺术层次，我做创作就是为 了追求自己的安心。我从小就想做 画家，但没想到真的坚持到今天。 事情一步步推进，现在好像真的就 是有这条路可以走。所以我不在意 结果会怎样，最重要是我自己的态 度。” Lai divided his creative process into two steps: painting and on-site creation. First, he drew “old style” ceramic tile patterns on every small piece of canvas, then used the finished pieces of canvas to make a collage, turning it into a large piece of artwork on site. As a result, the artwork can be constantly recreated according to the space constraints of each venue. For this exhibition, Lai brought over 15,000 small “canvas bricks” to Lisbon and used around 10,000 of them. “It is not easy work,” he says. “I worked every day for 10 days from 11am to 11pm to do the on-site setting up. Each piece needed four dots of a special glue to fix it to the wall. Eventually everyone in the museum came and helped me with it, which is a very interesting part of this exhibition – they were all involved in its creation.”