David PASKETT 大衛．帕斯克特 (UK)
Past President of The Royal Watercolour Society
Judge and participant in The Fabriano Museo Della Carta Watercolour Biennale since 2008
1986-1990
Lived in Hong Kong followed by frequent visits to China during the following 37 years exhibiting and painting
1918-2023
ongoing series of paintings based on Kun Qu, Chinese opera, and Tang Xianzu’s Peony Pavilion
Solitary British artist exhibiting Ceramic painting alongside Chinese Ceramic artists in Kings College Chapel, Cambridge, during the Xu Zhimo Poetry and Arts Festival
英國皇家水彩協會前會長
2008起 法比亞諾紙張博物館雙年展 評審及參展藝術家
1986~1990 駐於香港，隨後37年間頻繁前往中國展覽與繪畫。
1918-2023
持續創作一系列以崑曲、中國戲曲及湯顯祖的《牡丹亭》為基礎的繪畫。
徐志摩詩歌藝術節期間，連同中國陶瓷藝術家在劍橋大學國王學院禮拜堂展出陶瓷繪畫
Canal Reflections, Amsterdam 阿姆斯特丹，運河倒影
2022 | Watercolor 水彩 ｜46 x 31 cm
The moment when the geometric reality of a canalside building reflection is broken by disturbed water. Then, the Figurative suddenly becomes Abstract. Windows morph into irregular, calligraphic, wobbly shapes. Yet, even though the image becomes fragmented to the point of meaninglessness, it remains a family of shapes recognisable as ‘moving water’. I bow to the camera for the discovery of such a complex pattern, knowing that a rigorous study of details fitting together, not an impression, would give me clusters of shapes possessing a unique identity, I welcomed Amsterdam’s greys and browns framed by black, into my palette.
運河旁建築倒影的幾何現實，被擾動的水打破的時刻。然後，具象突然變成抽象。 窗戶幻化成不規則、龍飛鳳舞、擺動的形狀。然而，儘管景象支離破碎到毫無意義的程度，但仍然是一系列可視為「流動的水」的形狀。我向鏡頭鞠躬致意，因其讓我發現如此繁複的圖案，體認到針對揉合細節的嚴謹研究，而非印象的研究，會給我擁有獨特身份的各種形體，我歡迎阿姆斯特丹各式各樣受黑色框住的灰色與棕色，來到我的調色盤之中。
Choosing Spoons, Sapa 沙巴，選擇湯匙
2023 | Watercolor 水彩｜33 x 51 cm
When travelling, on the lookout for painting subjects, I am frequently attracted to gatherings of people that remind me of the compositions of European Old Master painters such as Giovani Bellini. Here in Sapa market, North Vietnam, a group of Black Hmong women dressed in traditional hand died indigo clothing are inspecting spoons, while some are occupied with weaving home grown hemp thread around their fingers. I liked this triangular composition with the lines of the women’s gaze directed towards a central drape of fabrics, while, what they are actually looking at is hidden from view.
在為尋找繪畫主題而旅行時，我常常受人群聚集所吸引，這些人群讓我想起喬瓦尼．貝利尼等古代歐洲大師畫家的作品。 在北越的沙巴市場，一群身著傳統手染靛藍服裝的黑苗族婦女，正檢查著湯匙，也有些人在指間忙著編織自家種植的麻線。我喜歡這樣三角形的構圖，女性的視線看向中央的織幔，而她們真正在看的東西，卻藏於視線之外。
Black Canyon 黑峽谷
2023 | Watercolor 水彩｜45 x 54 cm
During, and following, Covid Lockdown, alongside and complementing my figurative works, multiple recollections of places, rural and urban, visited and imagined, fueled many oil and waterolor paintings. Unplanned, with one mark leading to another they evolve with different identities. Often like maps of journeys. This one, which I called Black Canyon, has references to the dynamic geometry of mountains, valleys, canyons, schisms, rock faces and the point where land meets the sea with vistas in between.
在新冠疫情封城期間和之後，與我的具象作品相輔相成的是對鄉村與城市、參訪過與想像過的不同地方的許多回憶，催生出多幅油畫和水彩畫。毫無計劃，一筆連著一筆，它們以不同的身份演化著。通常像是旅行的地圖。這件我名為《黑峽谷》的作品，參考了山丘、溪谷、峽谷、裂隙、岩面，還有陸地與海洋交匯處及其中景緻的生動幾何形狀。
Fishing Mudmen, Beijing 北京，捕魚泥人
2021 | Watercolor 水彩｜15 x 53 cm
A heap of fishing Chinese Mudmen, loosely wrapped in paper, appear to be in a rocky landscape. A few are unwrapped and displayed in a row for inspection.
While things are in the process of emerging from their wrapping there is an intrigue which can get lost when objects are displayed centre stage. The edges of markets and makeshift displays are my hunting ground. The glimpse of a view, the becoming, the process, the journey…this is where the story is. Finding patterns in apparent disorder and enjoying ‘repetition’.
一群正在捕魚的中國泥人，鬆散地用紙包裹著，像是在岩石景觀之中。有一些打開了、並排成一排展示，以供檢視。
隨著東西從包裝中浮現，有秘密可能在物件展示於舞台中央時消失。市場及臨時展示的邊緣是我的狩獵場。風景、形塑、歷程、旅程的一瞥……是故事的所在。在顯然無序中，尋找模式並享受著「反覆」。