這個年代還有拜師學藝這回事?沒有課程規劃會生出怎麼的課程?來參觀「大C承傳 藝術教育計劃在火炭 2020 師生作品展」,與火炭的藝術師徒會面,便能解答以上疑問!此展覽由45名藝術家和學員共同協作,於2020年1月4、5、11、12日,在10間火炭藝術工作室進行展覽,與公眾分享師生創作成果。

 

因材施教

過去一年,10位火炭藝術家配對30多位學生,展開藝術的探索。課程大綱、學習目標、上課時間、課堂地點,一切均無規範,尊重每一個人的獨特性和創造力。藝術家根據學生的需要和興趣,在教育方式上各出奇謀,合力栽種出各式各樣的成果。以吳金眉為例,她設計明確的學習內容和目標,浮雕、透雕及圓雕課程,探索雕塑的基本技巧,學生高興對木雕有新領悟。文晶瑩的學員已有心儀的創作方向,茶藝和行為藝術,只需發展和突破,所以採取具自由度的課程設計。馬桂順與他的學員以颱風「山竹」作為創作題材,實地考察被山竹颶風損壞的樹林現況,進行創作。Artists Co-op與學員探索可持續發展議題,邀請十多位藝術家與學員分享相關的創作經驗。可見導師能夠為學員提供靈活的課堂模式,讓學員獲得不一樣的藝術學習體驗。

 

注入新力軍

學員在藝術家的指導下獲得啟發,進行具個人特色的創作,而非盲從導師的風格,為火炭社區注入新的力量。他們以藝術探索不同溝通的可能性:與自身的溝通、與人的溝通、與社會的溝通。例如關達強準確補捉城市怪像的手機照、療癒的日永插畫、劉志強和趙愛萍鋸不死的樹樁、梁詠婷回應時代的黃黑紙鶴、趙善雯流動的自由水墨,温倩蘅(小肥)的自傳式行為藝術等。許多作品都有動人的地方。雖不是每一件作品質素都技巧高超,美侖美奐,但我們都看見作品脫變的過程,那豐富、多樣性和個人的投入,令人感受到那份動人的真和感人的努力。

 

各有得著

計劃沒有收生要求,所以學員的背景都相當多樣化,35位同學年齡由18歲至67歲都有,職業分佈在各個領域,例如:藝術家、教師、市場策劃、紋身學徒、社工等。他們相互之間產生不少化學作用,例如郭世敏過去面對工作和生活條件的限制,無法朝藝術方面發展。他通過本次計劃,終於在退休後一圓藝術夢。他把家中的車庫改建為藝術工作室,其他同學於是可以有聚腳的地方,共同在他家試驗不同的創作技巧。甚至突發奇想,以水果刨刨木,眾人哭笑不得。關達強多年以來,通過臨摹不同的攝影風格,持續探索鏡頭下的可能性。然而對於如何建立個人風格感到困惑,通過與藝術家的交流,開始找到自己的方向。亦有年輕學員通過參與本計劃,在未來藝術發展、學習和職業選擇的方向上獲得感悟,尋覓自身未來不同的可能性,均為眾人樂見的發展。

Does­ apprenticeship still exist or work? What can be taught without formal curriculum planning? Come and visit “Project C Art Education Programme @ Fotan 2020 Exhibitions by Instructors and Students” to meet our Fotan artists and their students. You will find out! The exhibitions will be held by 45 artists and students on 4, 5, 11 and 12 January in 2020. They will display their artworks at 10 Fotan art studios for the public.

 

Courses designed based on students’needs

More than 30 students were admitted in“Project C Art Education Programme @ Fotan" to explore art with 10 Fotan artist last year. Without a prescriptive syllabus, defined learning objectives, specified class time and a teaching location, the artists designed the courses flexibly, according to the needs and interests of the students, respecting the uniqueness and creativity of each individual and together they achieved a variety of satisfactory results. For example, Amy Ng’s course was designed to explore the basic skills in woodcarving including embossing, openwork and round sculpture. Students joyfully gained new insights into this kind of art. Phoebe Man's students had their creative directions, tea art and performance art. They only needed to further develop their artworks and did achieve breakthroughs of different hues. Here, free design was suitable. In addition to other special teaching methods, MA Kwai Shun and his students used the typhoon Mangkhut as the theme of the creations. Artists Co-op and students explored sustainable development issues and invited more than a dozen artists to share relevant creative experiences. This shows that the teachers can provide a flexible mode so that students can have different learning experiences.

 

New Powers

 Instead of following the style of the teachers blindly, the students developed their own styles of art with adequate guidance and support. They used art as a media to explore different ways of communication: communication with themselves, communication with the others, and communication with the society. Kwan Tat Keung’s mobile phone photos accurately captured the pulse of the city. Illustrations of Sunforever are healing. The damaged trees in the paintings of Olga and Steve never die. The yellow-black paper cranes and the free-flowing ink paintings are responding to the times. The performance of Cynthia (Siu Fei) is sincere and autobiographical. Students’ works can move people. Although not every piece of work is highly skilled and beautiful, we can see that some of the works are generative, diverse and rich. Their inputs and efforts are moving.

 

Fruitful Results

 There were no straight admission requirements for the program, which attracted students with diverse backgrounds. The 35 students are aged from 18 to 67 years, and their occupations are distributed widely over various fields, such as artists, teachers, retirees, marketing planners, accountants, tattoo apprentices, social workers, etc. Due to limitations of working and living conditions, Simon was not able to develop his art career when he was young. Through the program, he fulfilled the dream of learning art after he retired. He reconstructed his garage into an art studio and invited other classmates to come for exploring creative skills. He even tried to use a peeler for woodcarving, which brought lots of fun. Kwan Tat Keung explored numerous photography styles and techniques continuously; however, he has had difficulties in developing his own unique style. Luckily, he gradually found his direction through interactions and communication with the teacher and other artists. Some young students gained insights on the future direction of their career paths, study plans and art creation. It is comforting, almost blissful, to see the students finding different possible paths that their lives can follow, after attending Project C.

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