This publication is produced on the occasion of the exhibition 'Restlessness - New Works by Tong Chong' at AFA Macau, 12 June - 11 July 2010.

'Of the younger generation of “part-time” artists in Macao, Tong Chong is unquestionably the most productive. Despite his busy working schedule, he insists on creating works in addition to taking care of his family, neither of which can be achieved without his persistent efforts. Following Back & Forth – Works by Tong Chong organised by Art for All (AFA) in early 2008, his forthcoming exhibition is another solo exhibition showcasing 12 paintings and two wood sculptures created by Tong Chong during the past two years.'

'In contrast to the Chinese saying "The lovable isn't believable, and the believable isn't lovable," Tong Chong’s new works are both lovable and believable, from which one can seemingly feel that the artist has found the shady tree in the hot sun but is discontented staying under the shade without the breeze. Such restlessness turns into an artist’s motivation for seeking growth. This is exactly the absent quality in local art circles. As trees can be planted while wind cannot be summoned, I sincerely hope that the soil of local arts will become more fertile, whereby talented young artists like Tong Chong can have more opportunities to bring their talent into full play, rather than sitting under the tree doing nothing. One day, they will not bemoan their fate but look forward to seeing a fertile soil for artists.' (from website of AFA Macau)

Including artist biography.


在本地年青一輩的“工餘”藝術家中，唐重肯定是最多產的一人，日常既要應付繁重的工作，亦要同時照顧家庭，還得抽空不斷創作，絕對是少一點堅持也不成。這次展覽是全藝社繼零八年初《前前後後—唐重作品展》後再度舉辦唐重的個人作品展，展出其過去兩年的十二幅畫作及兩件木雕作品。時隔兩年，再一次有機會策劃唐重的個展，不禁好奇地反覆觀看其新作，及將之與其《前前後後》展中的舊作相比照，明顯地看到其一貫的創作手法比前更爲成熟，在畫面的處理上新作比舊作更顯“大氣”，從過去大面積的“符號”堆砌畫面過渡到簡潔而肯定的構圖，足見藝術家於個人風格與創作上的提昇，其樸拙和原始的畫風，在表面上融匯了書法與民間藝術的元素，而背後卻處處流露藝術家對創作的個人思考與體會，藝術家試圖利用作品去反映其自身對生存環境的理解，唐重亦曾表示其作品主要是希望表現出其近年對社會文化、人類生存的探索，回到人性的本質，以及在當下社會中人類的角色，包括對性、人、社會，以及對“老祖宗”的遺產的一些看法。嚴格來説這不只是一般創作上的自我追求，而是包括創作以外對自身個人成長的發展目標，要培養這種情愫與視野，不可能單靠多畫一兩幅畫或多看一兩本書而能成就，當中更必然涉及藝術家個人對社會的參與及經歷，“時間”與“際遇”必然起著關鍵作用。藝術家能否從生活中有所領悟，再透過堅持不懈地努力而從作品呈現，往往是藝術家窮一生無盡的追求。

“可信者不可愛，可愛者不可信”，在唐重既“可愛”亦“可信”的新作面前，彷彿感受到藝術家在烈日當空下找到大樹遮陰，卻不滿足於只有樹蔭而沒有涼風，這種不安於現狀是推動藝術家成長的動力，亦為本地藝術界所最缺乏的氛圍，正如樹可以植，而風卻不可生，但願本地有更豐富的藝術土壤，讓不少像唐重這樣的年青藝術家有發光發熱的機會，而不用老是坐在大樹下納悶，而有朝一日，大家都不用無病呻吟，而樂見春來草自生。