Pedro是去年十方藝術中心的荷蘭駐留藝術家，這一次又來與大家分享他的新書《天真無邪》。在分享會的現場，pedro穿著的橘紅色西裝和他灰白而卷翹的頭髮相搭配，如同他的繪畫作品一樣，色彩明麗、筆觸短促而清晰。畫面中留有稀疏的空白，像訴說著講不完的故事。

分享會上，Pedro為大家分享了書中作品的創作想法和方式。起初在音樂的伴隨中，他為大家展示書中的部分作品，有時還會伴隨著詩歌朗誦。隨後Pedro以作品書的封面為重點講解了這本書，「天真無邪」的主題。書的封面來自於他的一張繪畫作品。色彩乾淨明亮，看似天真無邪，其實，如果只用孩子天真的眼光是無法從書中獲得有效的信息。Pedro告訴了我們這是一個騙局。畫面里的內容不是來自於發生的真實事件，而是他將兩張日常照片合在一起，為觀者製造的一個假象。接下來分享的其他作品便也都是他編造的一個個虛擬故事。畫面中生動形象，而現實中並未發生。

最後，pedro邀請他的好友Adele分享她的詩電影作品。Adele在現場結合具體作品分享了她用影像和詩歌結合的方式創造出的虛構世界。這些虛構是與現實生活相互關聯的，有生活迷茫便依靠酒來支撐的人；有不能生育或失去孩子的人；有沈迷於男女之間情愛幻想的人，即使都並非真實，但都是她被生活觸動的呈現。

Pedro Bakker ’s Works

Book “Innocent”, 2016.

Behind every door is a story. What if the battle between good and evil gains a face? What if it is waged in your mother’s face, the personi cation of love itself? And what if the paternalistic state gets involved?

As gripping as a dramatic family novel, this book unfolds as a hybrid between an autobiographical and cultural-political quest. Artist Pedro Bakker thoughtfully illustrates the dangerous tension be- tween love, power and powerlessness. In  gurative re ections on human relationships, political relations and his own life, he tries to come to grips with our involvement in questions of guilt and innocence, precisely where the line demarcating the two becomes tremulous.

Some things are too  erce to be articulated; we are expected to remain silent about others, and sometimes we are too afraid to speak. We humans are often too small to rise to that. The artist aims to go beyond this. Visually, the artist processes a diffuse reality, at times even distorted, which seems removed from com- mon sense.

Pedro Bakker is such an artist. He does not shy away from irrationality, or from the devil on our shoulder, whose tendency towards lust, love and aggression threatens to drown us in a norm- lessness, which contains the threat of an egocentric turn from our compassion and our social understanding.

Qianxi 2, coloured pencil and watercolour on paper , 55 x 55 cm, 2015.

Burnt Home 4, charcoal , coloured pencil and watercolour on paper , 125 x 90 cm, 2009.

Burnt Home 7, coloured pencil and watercolour on paper, 150 x 285 cm, 2009.

Drawing for the animation Laughing About Hegel , coloured pencil and watercolour on paper, 88 x 119 cm, 2012.

In Memory of 1871 (Domela Nieuwenhuis) , coloured pencil and watercolour on paper, 234 x 420 cm, 2013. 

Collection Fries Museum , Leeuwarden.

L’Éternel Retour 8/Georges B. (1943), coloured pencil and watercolour on paper, 215 x 154 cm, 2011.

L’Éternel Retour 7/Ma Mère et Georges B. (1943), coloured pencil and watercolour on paper, 150 x 285 cm, 2011.