「黃色文創圈」乃林鄭月娥年代新興的「Protest Art」,前身為由楊雪瑩區議員於梁振英年代帶頭主理的「雨傘運動視覺文化庫存計劃」。
「黃色文創圈」繪畫創作的重要特色是「敘事性繪畫」,巧合地此具「依存美」價值的畫風,跟教育局及考評局多年來為會考、A-Level、DSE視藝科所履定的「Visual Presentation of a Theme」繪畫卷份教學的想像式創意教學思維乃屬同出一轍。
獲中聯辦及建制權貴剪綵祝賀的「畫會派」寫生泰斗,近年常常以「藍屍式公民抗命」的文革手段及高舉熱愛傳統中國藝術之名,抹黑堅守「依存美」故事繪畫的美術科狀元為「靠攏黃絲反中亂港勢力」來在當代藝術市場內「上位」;講者嘗試以明末思想家李贄所倡導之「童心說」來反駁「畫會派」的謬誤,並大膽假設地認為,如果港督彭定康現今回來管治香港的話,畫風像「黃色文創圈」的「依存美」藝術家,才是有如陳福善般正統地獲得港英政府器重的「原建制文化」,因為「Visual Presentation of a Theme」乃前朝港英年代遺留下來的美術教育產物,而回歸後四任特首均暫且未有意圖以大陸美院的列寧寫實主義美術高考制度來取代本港高中視藝科的「故事畫」考核制度,令本港的美術A級狀元在這「後殖民地時代」的模稜兩可亂世之中 ,陷入有如香港電台及藝發局般處於一個法理上符合港府體制但卻被習近平打壓為偏黃的尷尬局面,縱使具「meritocracy」的創作雄心壯志也不禁地萌生往英美澳紐加移民的消極念頭。
「黃色文創圈」乃林鄭月娥年代新興的「Protest Art」,前身為由楊雪瑩區議員於梁振英年代帶頭主理的「雨傘運動視覺文化庫存計劃」。
「黃色文創圈」繪畫創作的重要特色是「敘事性繪畫」,巧合地此具「依存美」價值的畫風,跟教育局及考評局多年來為會考、A-Level、DSE視藝科所履定的「Visual Presentation of a Theme」繪畫卷份教學的想像式創意教學思維乃屬同出一轍。
獲中聯辦及建制權貴剪綵祝賀的「畫會派」寫生泰斗,近年常常以「藍屍式公民抗命」的文革手段及高舉熱愛傳統中國藝術之名,抹黑堅守「依存美」故事繪畫的美術科狀元為「靠攏黃絲反中亂港勢力」來在當代藝術市場內「上位」;講者嘗試以明末思想家李贄所倡導之「童心說」來反駁「畫會派」的謬誤,並大膽假設地認為,如果港督彭定康現今回來管治香港的話,畫風像「黃色文創圈」的「依存美」藝術家,才是有如陳福善般正統地獲得港英政府器重的「原建制文化」,因為「Visual Presentation of a Theme」乃前朝港英年代遺留下來的美術教育產物,而回歸後四任特首均暫且未有意圖以大陸美院的列寧寫實主義美術高考制度來取代本港高中視藝科的「故事畫」考核制度,令本港的美術A級狀元在這「後殖民地時代」的模稜兩可亂世之中 ,陷入有如香港電台及藝發局般處於一個法理上符合港府體制但卻被習近平打壓為偏黃的尷尬局面,縱使具「meritocracy」的創作雄心壯志也不禁地萌生往英美澳紐加移民的消極念頭。
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