Morgan O’Hara ( b.1941, Los Angeles)

Morgan O’Hara was born in Los Angeles and raised in an international community in post-war Japan. She earned a Master’s Degree in Art from California State University at Los Angeles, and had her first solo exhibition in the Musée Cantonal des Beaux Arts in Lausanne, Switzerland in 1978. Her practice researches the vital movement of living beings through drawing. In 1989 she began doing performative drawing in international performance art festivals, did her first site specific wall drawings and began the practice of aikido, a Japanese martial art. In 1997 O’Hara’s work was honored with a solo show in the newly opened Drawing Room at the Drawing Center in New York. O’Hara lived in Europe for 25 years, and now lives in New York and works internationally. She has been a member of the Elizabeth Foundation in 2010. Her work is in the permanent collections of many institutions, including: Czech National Gallery, Prague; Hammer Museum, Los Angeles; Macau Art Museum, Macau, China; National Gallery of Art, Washington, D.C., Stedelijk Museum, Amsterdam, and the British Museum, London.

Her work is culturally contextualized in the practice of drawing as a fundamental human endeavor and is continuous with the time-honored practice of drawing from life. It requires connection, direct observation and LIVE TRANSMISSION. She draws from and builds on the historical continuum of the field. This work transcends the arbitrary “oppositions” between abstract and figurative art, between purely gestural expression and documentary intent, creating narrative work which results in a final product which is not figurative. The drawings themselves become a third actor or mediator in the experience. That which was beneath notice becomes concretized on the page as the paper receives the image.

摩根·奥哈拉 ( b.1941, 洛杉矶 )


奥哈拉的作品深深植根于绘画——这一人类的基本诉求,并且延续了历史悠久的写生实践。它要求绘画者与被描摹者的深刻连结,直接的观察与“场境转化”(LIVE TRANSMISSION)。她通过自己的观察,以铅笔线条转换运动的轨迹,实时传送外界的波动和生命迹象。她的作品超越了抽象与具象艺术之间,打破了示意表达与纪录意图之间武断的“对立”,创造了具有叙事特点却非具象的绘画。绘画本身成为经验里的第三者或中介物。 这样,在纸张接受图像时,本不易察觉的存在被有形化了。

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