黎志文用古代中文六书中的象形、会意造字法则创作立体作品，从中体会东方人的人生哲理和生活经验，透过作品表现一种东方美学——和谐。
今春，出生于香港，启蒙于台湾，深耕于意大利、美国、荷兰，立业于亚洲的著名雕塑家黎志文，即将于上海龙门雅集推出他在中国首度个人作品展览，正式开幕于4月14日下午4时。展期：2018年4月14日至6月30日。
黎志文1949年出生，1973年台湾艺术专科学校（现台湾艺术大学）雕塑科毕业后，只身前往意大利着名世界雕塑中心卡拉拉（Carrara）石矿区亨鲁（Henraux）石雕工作室从事石雕创作。在工作室期间，黎志文有机会接触到如亨利·摩尔（Henry Moore）、野口勇（Isamu Noguchi）、彼得·卡耶拿（Pietro Cascella）等国际着名艺术家。经历四年创作后，他获美国雕塑家罗伯·鲁辛（Robert Russin）研究金，至美国怀俄明州工作，并于1980年取得美国怀俄明大学雕塑硕士学位。求学期间并与荷兰籍妻子保琳共结连理，于1982年取得荷兰视觉艺术机构之职业艺术家资格至荷兰创作生活。1984 年回台湾任教于台北艺术大学。历经香港、意大利、美国、荷兰再回到台湾，丰富的阅历与吸收了多元思潮的审美观，但他很早就选择回归东方精神。
一直以来，黎志文的作品都在试图透过传统雕塑表现的手法，以质感，或覌念，或形式，之间的对比去寻求个人创作风格的体现，而此种对比产生出的强烈张力和艺术效果，不单可以在两种不同质材的对比处理中获得，亦可从同一种质材里运用人工造形与自然肌理的对比中颉取，来成功创造作品中既对比又协调的特殊效果，而此和谐统一的效果正是他一向企图与覌者分享的创作理念。
回到亚洲三十年中，黎志文不断尝试探索和开发自身固有的艺术造型语汇，使之具有人类与自然共生共存的历史演化和深度。其雕塑造形语汇源启于其对于中文六书中造字的原理和方法，体悟自东方哲学思想所反映出的悠久传统文化和人类文明中的各种生活经验，学习于东方人与自然、人与人之间的互动与对比关系等；都深深影响着他创作雕塑时，思考如何藉着“象形”、“会意”等造字的精神性手法所传递出来的讯息，来创作不仅代表个人文化背景延伸的雕塑作品，同时也能散播出普遍性的共同艺术语言与普世艺术价值。
Press Release – For Immediate Release
Harmony, 2018 Sculpture Exhibition of Lai Chi Man
By applying the pictograms and syntactic building methods from the ancient Chinese "Six Books" to create three-dimensional works, Lai Chi Man's sculptures echo the cultural virtues of an ancient tradition and reflect the essence of Eastern thought, and express an oriental aesthetic: harmony.
Longmen Art Projects is pleased to announce the first solo exhibition of LAI Chi Man sculptures in Mainland China; Harmony: 2018 Sculpture Exhibition of LAI Chi Man will debut to the public on Saturday, April 14, 2018 and continue through June 30, 2018.
Born in Hong Kong in 1949, LAI Chi Man graduated from the sculpture department of Taiwan Academy of the Arts (now Taiwan University of the Arts). He later travelled to Italy where he refined his sculpture-making skills at Henraux S.p.A., Carrara, famous for its quarries and sculptures. During this time, LAI had the opportunity to work alongside Henry Moore, Isamu Noguchi, and Pietro Cascella. After four years in Italy, he received a fellowship to further his education in Wyoming under the sculptor, Robert Russin; and in 1980, he received his M.F.A degree in sculpture from the University of Wyoming. During this period, he married Paulien Verhaak, and in 1982, he was admitted as a member of the Beeldende Kunstenaars Regeling in the Netherlands. LAI returned to Taiwan in 1984 where he was invited to teach at the Taipei University of the Arts. Having experienced life in Hong Kong, Italy, the United States, the Netherlands, and Taiwan, LAI was able to foster a rich and diverse perspective on aestheticism. Nevertheless, it was always clear to LAI that he would return to embrace the Eastern spirit.
LAI Chi Man has always sought ways to find expressions of individual creative styles through the contrast of textures, concepts, or forms through the traditional methods of sculpture expression. This contrast produces extreme tension and Artistic expression; which can be obtained not only from the contrasting treatments of two different materials, but also from the comparison of artificial forms and natural textures in the same material to successfully create a special effect that is both contrastive and coordinated. The effect of this harmonious unity is precisely the creative idea LAI has always tried to share with his viewers.
Over the past thirty years in Asia, LAI has constantly explored and developed an artistic vocabulary that echoes the evolution and depth of mankind's harmonic coexistence with nature. The roots for this resulting sculptural vocabulary can be traced to the six ways of constructing Chinese characters, whose forms echo the cultural virtues of an ancient tradition and reflect the essence of Eastern thought. Through such an approach, LAI contemplates Eastern philosophies regarding the relationships amongst mankind and nature. And, throughout the creative process, he uses pictographs and meanings similar to those found in Chinese characters to express a message that transcends culture and communicates universal values.
