ChiaroFabric (When Chiaroscuro Sleeps in Fabric) 光影織語
Michael Andrew Law's groundbreaking ChiaroFabric series represents a significant evolution in contemporary abstract painting, masterfully blurring the boundaries between dimensional reality and flat surface illusion. In this innovative body of work, Law explores the fascinating interplay between light, shadow, and textile materiality to create captivating visual experiences that challenge our perception.The ChiaroFabric technique involves a meticulous multi-stage process that begins with carefully manipulating the canvas through precise folding and creasing. Law then applies layers of paint using specialized spray techniques from various angles, capturing the subtle interplay of light across the textured surface. When the canvas is finally stretched flat, it retains a perfect record of its previous three-dimensional state, creating a mesmerizing trompe l'oeil effect that appears to preserve actual folds within a two-dimensional plane.
The title "ChiaroFabric (When Chiaroscuro Sleeps in Fabric)" represents a sophisticated fusion of artistic concepts. "Chiaro" derives from the Italian term "chiaroscuro," a classical technique emphasizing the dramatic contrast between light and shadow. The "Fabric" component references the textile-like qualities and dimensional folds that characterize the series. This poetically suggests how traditional light-and-shadow techniques become intrinsically woven into the very structure of the canvas, creating a visual language where classical painting techniques merge with contemporary expression.
What makes this series particularly significant is Law's unique fusion of classical and contemporary approaches. The layered application of color draws directly from traditional glazing techniques used by Old Masters, while the conceptual exploration of dimensionality places the work firmly in contemporary discourse. As a Hong Kong artist known for his work across the spectrum from pop culture to historical subjects, Michael Andrew Law brings this dual sensibility to create works that exist in a fascinating liminal space between abstraction and representation, tradition and innovation.
The title "ChiaroFabric (When Chiaroscuro Sleeps in Fabric)" represents a sophisticated fusion of artistic concepts. "Chiaro" derives from the Italian term "chiaroscuro," a classical technique emphasizing the dramatic contrast between light and shadow. The "Fabric" component references the textile-like qualities and dimensional folds that characterize the series. This poetically suggests how traditional light-and-shadow techniques become intrinsically woven into the very structure of the canvas, creating a visual language where classical painting techniques merge with contemporary expression.
What makes this series particularly significant is Law's unique fusion of classical and contemporary approaches. The layered application of color draws directly from traditional glazing techniques used by Old Masters, while the conceptual exploration of dimensionality places the work firmly in contemporary discourse. As a Hong Kong artist known for his work across the spectrum from pop culture to historical subjects, Michael Andrew Law brings this dual sensibility to create works that exist in a fascinating liminal space between abstraction and representation, tradition and innovation.
羅卓睿的開創性系列「光影織詩」(ChiaroFabric)代表了當代抽象繪畫的重要演進，巧妙地模糊了維度現實與平面幻象之間的界限。在這一創新作品系列中，羅卓睿探索了光線、陰影與織物質感之間的迷人互動，創造出挑戰我們感知的引人入勝的視覺體驗。
「光影織詩」技法涉及一個精細的多階段過程，始於通過精確的折疊和壓痕來謹慎操作畫布。羅氏隨後使用專業噴塗技術從各個角度施加顏料層，捕捉紋理表面上光線的微妙互動。當畫布最終被拉平時，它保留了其先前三維狀態的完美記錄，創造出一種令人著迷的視錯覺效果，彷彿在二維平面中保存了實際的褶皺。
「光影織詩（當明暗法沉睡於織物中）」這一名稱代表了藝術概念的精妙融合。「光影」指的是光與影，而「織詩」則結合了「織」與「詩」的概念，暗示作品通過編織光影的語言來表達。這詩意地表明傳統的光影技法如何融入畫布的織物結構中，創造出一種視覺語言，使古典繪畫技法與當代表達方式融為一體。
這一系列的特別之處在於羅卓睿對古典與當代方法的獨特融合。分層應用的色彩直接源自古代大師使用的傳統上光技術，而對維度性的概念探索則將作品牢固地置於當代話語中。作為一位以跨越流行文化到歷史主題領域工作而聞名的香港藝術家，羅卓睿帶來了這種雙重感性，創造出存在於抽象與具象、傳統與創新之間迷人中間地帶的作品。
「光影織詩」技法涉及一個精細的多階段過程，始於通過精確的折疊和壓痕來謹慎操作畫布。羅氏隨後使用專業噴塗技術從各個角度施加顏料層，捕捉紋理表面上光線的微妙互動。當畫布最終被拉平時，它保留了其先前三維狀態的完美記錄，創造出一種令人著迷的視錯覺效果，彷彿在二維平面中保存了實際的褶皺。
「光影織詩（當明暗法沉睡於織物中）」這一名稱代表了藝術概念的精妙融合。「光影」指的是光與影，而「織詩」則結合了「織」與「詩」的概念，暗示作品通過編織光影的語言來表達。這詩意地表明傳統的光影技法如何融入畫布的織物結構中，創造出一種視覺語言，使古典繪畫技法與當代表達方式融為一體。
這一系列的特別之處在於羅卓睿對古典與當代方法的獨特融合。分層應用的色彩直接源自古代大師使用的傳統上光技術，而對維度性的概念探索則將作品牢固地置於當代話語中。作為一位以跨越流行文化到歷史主題領域工作而聞名的香港藝術家，羅卓睿帶來了這種雙重感性，創造出存在於抽象與具象、傳統與創新之間迷人中間地帶的作品。
Ben Day Dots Abstract (Modern Day Lichtenstein)
Michael Andrew Law's innovative "Ben Day Dots Abstract" series represents a sophisticated dialogue between spontaneous artistic expression and the mechanical precision of pop art iconography. This series stands as a testament to Law's ability to synthesize diverse artistic influences into a cohesive and distinctive visual language.
The creation process begins with dynamic, energetic compositions that embrace elements of chance and artistic spontaneity. Law then meticulously overlays these expressive foundations with hand-stenciled Ben Day dots—the iconic printing technique popularized by Roy Lichtenstein in his seminal pop art works. As noted in his gallery descriptions, "All Lichtenstein style Ben Day Dots effects are Stenciled by HAND" , emphasizing the artist's commitment to craftsmanship even when referencing mechanical processes.
What distinguishes this series is the deliberate juxtaposition between the organic, fluid underpainting and the rigid, systematic dot patterns above. This creates a fascinating visual tension that challenges viewers' perceptions of artistic authorship and control. The title "Modern Day Lichtenstein" acknowledges this heritage while asserting Law's contemporary reinterpretation of these techniques.
Law's approach to this series reflects his broader artistic philosophy of creating "a dialogue over the definition of Exquisite Taste in nowadays culture" . By combining seemingly unrelated visual elements using techniques like montage and superimposition, Law creates compositions that are simultaneously structured and playful, mechanical and expressive.
This series exemplifies Law's signature style of bridging classical and contemporary techniques. As described in exhibition materials, his works are "painted utilizing classical painting trained techniques and glazing techniques" alongside contemporary visual elements. This duality reflects Law's training with classical painter Dan Anderson and his interest in creating "expressions of contrasts, of opposites that attract whether in symbology or artistic language".
Through the "Ben Day Dots Abstract" series, Law invites viewers to reconsider the boundaries between high and low art, between mechanical reproduction and artistic expression, creating works that are both intellectually engaging and visually captivating.
羅卓睿創新的「網點抽象畫」系列代表了自發藝術表達與波普藝術圖像機械精確性之間的精妙對話。這一系列作品見證了羅氏將多元藝術影響融合為連貫且獨特視覺語言的能力。創作過程始於擁抱偶然性和藝術自發性元素的動態、充滿活力的構圖。隨後，羅氏精心地在這些表現力豐富的基礎上覆蓋手工模板製作的網點——這是羅伊·李奇登斯坦在其開創性波普藝術作品中popularized的標誌性印刷技術。正如其畫廊描述所述，「所有李奇登斯坦風格的網點效果均由手工模板製作」，強調了藝術家即使在引用機械過程時對工藝的承諾。
這一系列的獨特之處在於有機、流動的底層繪畫與上層僵硬、系統化的點狀圖案之間的刻意並置。這創造了一種引人入勝的視覺張力，挑戰觀眾對藝術創作權和控制的認知。「現代李奇登斯坦」這一標題承認了這一傳承，同時主張羅氏對這些技術的當代重新詮釋。
羅氏對這一系列的方法反映了他更廣泛的藝術哲學，即創造「關於當今文化中精緻品味定義的對話」。通過結合看似不相關的視覺元素，使用蒙太奇和疊加等技術，羅氏創造了同時具有結構性和趣味性、機械性和表現力的構圖。
這一系列體現了羅氏橋接古典和當代技術的標誌性風格。正如展覽材料所描述的，他的作品「運用古典繪畫訓練技術和上光技術繪製」，同時融合當代視覺元素。這種二元性反映了羅氏與古典畫家丹·安德森的訓練，以及他對創造「對比的表達，吸引對立面，無論是在符號學還是藝術語言中」的興趣。
通過「網點抽象畫」系列，羅氏邀請觀眾重新考慮高雅藝術與通俗藝術之間、機械複製與藝術表達之間的界限，創造出既具有智性吸引力又視覺上引人入勝的作品。
The creation process begins with dynamic, energetic compositions that embrace elements of chance and artistic spontaneity. Law then meticulously overlays these expressive foundations with hand-stenciled Ben Day dots—the iconic printing technique popularized by Roy Lichtenstein in his seminal pop art works. As noted in his gallery descriptions, "All Lichtenstein style Ben Day Dots effects are Stenciled by HAND" , emphasizing the artist's commitment to craftsmanship even when referencing mechanical processes.
What distinguishes this series is the deliberate juxtaposition between the organic, fluid underpainting and the rigid, systematic dot patterns above. This creates a fascinating visual tension that challenges viewers' perceptions of artistic authorship and control. The title "Modern Day Lichtenstein" acknowledges this heritage while asserting Law's contemporary reinterpretation of these techniques.
Law's approach to this series reflects his broader artistic philosophy of creating "a dialogue over the definition of Exquisite Taste in nowadays culture" . By combining seemingly unrelated visual elements using techniques like montage and superimposition, Law creates compositions that are simultaneously structured and playful, mechanical and expressive.
This series exemplifies Law's signature style of bridging classical and contemporary techniques. As described in exhibition materials, his works are "painted utilizing classical painting trained techniques and glazing techniques" alongside contemporary visual elements. This duality reflects Law's training with classical painter Dan Anderson and his interest in creating "expressions of contrasts, of opposites that attract whether in symbology or artistic language".
Through the "Ben Day Dots Abstract" series, Law invites viewers to reconsider the boundaries between high and low art, between mechanical reproduction and artistic expression, creating works that are both intellectually engaging and visually captivating.
羅卓睿創新的「網點抽象畫」系列代表了自發藝術表達與波普藝術圖像機械精確性之間的精妙對話。這一系列作品見證了羅氏將多元藝術影響融合為連貫且獨特視覺語言的能力。創作過程始於擁抱偶然性和藝術自發性元素的動態、充滿活力的構圖。隨後，羅氏精心地在這些表現力豐富的基礎上覆蓋手工模板製作的網點——這是羅伊·李奇登斯坦在其開創性波普藝術作品中popularized的標誌性印刷技術。正如其畫廊描述所述，「所有李奇登斯坦風格的網點效果均由手工模板製作」，強調了藝術家即使在引用機械過程時對工藝的承諾。
這一系列的獨特之處在於有機、流動的底層繪畫與上層僵硬、系統化的點狀圖案之間的刻意並置。這創造了一種引人入勝的視覺張力，挑戰觀眾對藝術創作權和控制的認知。「現代李奇登斯坦」這一標題承認了這一傳承，同時主張羅氏對這些技術的當代重新詮釋。
羅氏對這一系列的方法反映了他更廣泛的藝術哲學，即創造「關於當今文化中精緻品味定義的對話」。通過結合看似不相關的視覺元素，使用蒙太奇和疊加等技術，羅氏創造了同時具有結構性和趣味性、機械性和表現力的構圖。
這一系列體現了羅氏橋接古典和當代技術的標誌性風格。正如展覽材料所描述的，他的作品「運用古典繪畫訓練技術和上光技術繪製」，同時融合當代視覺元素。這種二元性反映了羅氏與古典畫家丹·安德森的訓練，以及他對創造「對比的表達，吸引對立面，無論是在符號學還是藝術語言中」的興趣。
通過「網點抽象畫」系列，羅氏邀請觀眾重新考慮高雅藝術與通俗藝術之間、機械複製與藝術表達之間的界限，創造出既具有智性吸引力又視覺上引人入勝的作品。
Abstract Painting by Michael Andrew Law
Oil on Canvases or Panels in Various sizes.
This 2015 series is Michael Andrew Law's only abstract painting series consists of a total of 52 pieces.
Painted during the year 2015 which was a low point of the artist's career and private life. This series is the reacting with art to the then-chaotic situation, as a product of self-reflection process.
Michael Andrew Law started making works other than figurative and representational paintings since early 2010s, inspired by Richter’s squeegee techniques, Pollock Dripping Technique and among others contemporary abstract painters such as Schnabel and Wool, Law’s Abstract paintings also contain some of the same techniques or elements he uses in his representational paintings such as use of Glitter, overpainted Gesso and then other with classical glazing technique.
This 2015 series is Michael Andrew Law's only abstract painting series consists of a total of 52 pieces.
Painted during the year 2015 which was a low point of the artist's career and private life. This series is the reacting with art to the then-chaotic situation, as a product of self-reflection process.
Michael Andrew Law started making works other than figurative and representational paintings since early 2010s, inspired by Richter’s squeegee techniques, Pollock Dripping Technique and among others contemporary abstract painters such as Schnabel and Wool, Law’s Abstract paintings also contain some of the same techniques or elements he uses in his representational paintings such as use of Glitter, overpainted Gesso and then other with classical glazing technique.
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Details Look / In the Studio
Painting on Plastic
Oil On Acrylic Film (Sold Out)
