藝倡畫廊（Alisan Fine Arts） 多年來已成為來自中國內地、香港甚至全球華人當代藝術家的主要聚集地。這三個群體有著重疊但又截然不同的歷史。這些經歷是如何在這些藝術家作品中體現出來的？
像丁雄泉和趙春翔，他們都是華人藝術家，二人都是在上世紀40 年代離開中國，途經歐洲，最終在 50 年代定居紐約。那時正值美國抽象表現主義運動和後來的波普藝術運動的鼎盛時期。所以如果你看他們的作品，會發現這種影響在他們的作品中很明顯。比如他們使用這些螢光、明亮的顏色，這很容易讓人聯想到波普藝術。尤其是對趙春翔來說，在他的抽象作品中，他使用了很多非常有力和大膽的筆觸，讓人想起Jackson Pollock之類的藝術家。然後如果我們看看香港水墨大師，比如說呂壽琨，他用墨水和紙描繪了所謂的禪意山水畫，抽象的圖像喚起一種禪的感覺。他大半輩子都住在香港。所以我認為他的畫更接近中國山水畫的傳統，他所描繪的真實形象並不重要，但它就像喚起一種感覺。然後，如果再看看同樣以水墨傳統創作的內地藝術家，由於他們接觸西方的機會較少，甚至在這個時代也是如此，所以通常在他們自己的傳統中探索現代語言。所以，像王天德這樣的人，他的作品是一種傳統的山水畫。但是，為了使他的作品現代化和當代化，他使用水墨，也用焚香來「繪畫」。實際上他是用香來燒紙，用香來作畫。
At this year's Art Basel, you have a special presentation called 'Past and Present Landscapes', we've got exhibits by modern masters, large-scale installations, and even works that will travel through Hong Kong on the iconic tram. So, what's the message that you bring?
Oftentimes, when people look at landscape or think of Chinese landscape painting, it's automatically like this very traditional Chinese landscape that appears and I think, oftentimes, for an untrained eye or to the Western collectors, it's very difficult for them to understand or appreciate it. We wanted to do 'past' and 'present' because we wanted to contemporize this whole genre of paintings and allow more people to understand it and appreciate it. When you're talking about the iconic Hong Kong tram car, that's bringing this whole very traditional classical medium right into the public in our face, so everybody can see it and they can understand and realise, oh, it's not so intimidating after all.
Speaking of landscapes, Chinese landscape art is an extension of the brushstrokes in calligraphy and regarded as the highest form of painting. Chinese artists use mountains, rivers, waterfalls, even agriculture, which demonstrates their closeness to the natural world. What do these artists teach us?
You really can see how they think of nature and how it's really important to respect nature. And also, the need for humans to coexist with nature and not taking it for granted and not destroying what is basically given by God. Another work that this artist, Hong Kong artist, Danny Lee has created is a sculpture with a mountain. And on top, there's three large droplets of stainless steel 'water'. It's kind of perched very precariously on top of this pointy mountain. Why is it on top of this beautiful mountain? Why do we only have droplets of water? Maybe people say, oh, no, at the top of the mountain there shouldn't be flowing water, it should be frozen like a glacier. But then if you look closely at these three droplets of water, they're actually slowly melting. So that's also a commentary. Either we should have more water, or if not it's supposed to be ice and it's frozen, but then now it's starting to melt. So, I think the these artists... they really have a love for nature and they're noticing that there's all these changes that are going on.
Alisan Fine Arts over the years has become a major gathering point for Chinese contempory artists from the mainland, Hong Kong, and the global diaspora. These are three groups with overlapping yet distinct histories of their own. How does this mix of experiences come out in the works that these artists create?
Someone such as Walasse Ting, as well as Chao Chung-Hsiang, they’re Chinese diaspora artists and they both left China in ther 1940s via Europe and they both eventually settled in New York City in the 1950s. And this was during the height of the American abstract expressionist movement and later the pop art movement. And so if you look at their artwork, you can see that that type of influence clearly comes out in their work, such as their use of these fluorescent, bright colours, which is very reminiscent of pop art, especially for Chou Chung-Hsiang, his abstract work, he uses a lot of very strong and bold strokes that is of reminiscent of like Jackson Pollock or somebody like that. And then if we look at somebody like a Hong Kong Ink Master like Lui Shou-kwan, he depicts paintings that are called Zen landscape paintings with ink and paper, and these are abstract images that evoke a feeling of Zen. He stayed in Hong Kong for most of his life. So I think his paintings are closer to the tradition of Chinese landscape paintings, where the actual image of what he is depicting isn't really important, but it's like evoking a feeling. And then if you look at a mainland artist who also works in ink tradition, since their exposure to the West is much less even true in this day and age, their search for a modern language is usually within their own tradition. So, somebody like Wang Tiande, his work is a traditional landscape painting. But then, in order to modernise and contemporize what he's doing, he uses ink, and he uses incense to 'paint' where he actually burns the paper with the incense, and he's drawing with with incense.