黃巧嫻撰文 | 光與獸的邊界：遇見 Guillermo Lorca 的畫布神話
Written by Chantelle Huang | The Edge of Light and Beasts: Encountering Guillermo Lorca’s Mythic Canvases
在畫布構築的幽暗劇場中，Guillermo Lorca 的作品如同一場靜謐卻充滿張力的夢境儀式。初見他的畫作，是在一個午後偶然走入的展廳，牆上懸掛著《The forest game》——一幅猶如神話殘頁般的油畫，那瞬間，我彷彿被畫中凝視的野獸與少女共同喚醒。
In the shadowed theatre of the canvas, Guillermo Lorca’s paintings unfold like dream-rituals—silent, yet saturated with tension. I first encountered his work in a quiet afternoon exhibition, where The Jungle loomed before me like a torn page from a forgotten myth. In that moment, I felt summoned—by the gaze of beasts and children alike—into a world where memory and magic blur.
Guillermo Lorca（1984年生於智利聖地牙哥）擁有令人敬畏的古典技巧，卻不甘於重複歷史。他用巴洛克式的光影搭建出一個個舞台，在那裡，孩童、動物與神祕女子共處於一種曖昧不明的狀態：既安靜，又不安。像《The Little Gardeners》中那樣，幾位小女孩圍繞在園圃中，與花卉與野獸為伍，畫面看似純真，卻總讓人察覺其中某種不尋常的氛圍。每一隻動物的出現都不只是點綴，而像是在觀察、等待，或者暗示著另一種潛藏的故事。
Guillermo Lorca, born in Santiago, Chile in 1984, wields classical painting with unsettling clarity. He constructs baroque stages where children, animals, and enigmatic women coexist in a quiet but uneasy harmony. In The Little Gardeners, young girls are nestled within a blooming garden, surrounded by flowers and creatures. At first glance, it feels idyllic—but something in the scene resists innocence. Every animal seems watchful, as though part of a story that hasn’t been fully told.
Lorca的畫不僅是觀看的對象，更是一種心理召喚——從集體潛意識中喚起深埋的記憶與情感。動物並非背景裝飾，而是慾望、恐懼、依附與背叛的象徵。在《Laura and the Dogs》中，環繞少女的犬群，既是守護者，也是即將失控的原力，觀者不禁反問：這究竟是一場夢，還是一場預言？
Lorca’s paintings are not mere images—they are psychological summons. His animals are not props, but emblems of desire, fear, and loyalty on the verge of betrayal. In Laura and the Dogs, a young girl sits amid a pack of canines—guardians, perhaps, or a latent threat. The viewer is left to wonder: is this a dream, or a vision of what’s to come?
Lorca在創作上極為嚴謹。他以攝影、數位拼貼及實景搭建等方式重建夢境，將之轉譯為大尺幅油畫。這些畫作不是即興之作，而是經年累月的心靈雕刻，畫中每一絲毛髮與布料紋理，皆是他對記憶與現實邊界的細緻探索。
Lorca constructs his visions meticulously, using photography, digital collage, and staged models to translate dreams into vast oil canvases. These works are not improvisations but sculpted meditations on memory and perception. Each hair, each fold of fabric, reveals a painstaking journey through the boundary of the real and the imagined.
從聖地牙哥國立美術館，到倫敦、首爾、巴塞隆納……Guillermo Lorca的作品已走向世界舞台。他不僅以畫筆重新詮釋古典技法，更以自己的敘事語彙創造出一種新型態的「視覺神話」——這些畫布彷彿神話故事的遺骸，等待每一位觀者去拾起、解讀、甚至置身其中。
From Santiago to Seoul, from the Louvre-like halls of Europe to contemporary galleries worldwide, Guillermo Lorca has revived and reinvented the classical idiom. His canvases are modern myths—remnants of stories half-told, waiting for each viewer to pick them up, to decipher, and perhaps, to enter.
當我與畫作四目相交的那刻起，時間彷彿靜止。那些畫布上的角色未曾言語，卻在我心中留下了一段段無法訴說的劇情。離開展場之際，彷彿仍能聽見動物低鳴與光影躍動的聲響——Guillermo Lorca的作品，是一場關於童年、潛意識與野性力量的凝視之旅，而這段旅程，或許剛剛開始。
In Lorca’s world, we are not merely spectators—we are participants in a silent, mythic dialogue. Long after leaving, I could still feel the pulse of his painted beasts, the breath of his imagined forests. His vision lingers, like a dream half-remembered, waiting to be revisited.
作者介紹
Introduction of the author
Chantelle Huang
香港國際青年藝術家協會會長暨公共事務營運總監
Society President Chief Public Affairs and Operating Officer of HIYA
畢業於知名藝術學院，醉心於藝術，致力幫助本地有潛質的藝術創作者，讓藝術家和社會大眾來探索藝術價值，成就不同事業。
Graduated from a well-known art institute, she is dedicated to helping local artists with potential to explore the value of art and the community to achieve different careers.
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