2018 暗湧 Undertow
我總認為「成人」的過程其實就是一道道擠壓的工序,盡量削去不被允許的面向,盡可能成為一個合宜的人。在身體與意識底下,被擠壓的自我有一部分成為岩石,有的部分則成為了湧流,竄洩而出,原本被壓抑的部分,在形變與自我辯證中成為與世界的橋樑,成了自由的詮釋。
展示的作品多與欲望有關,當欲望被視作禁條,欲望並不會被封印或消失,而是在日復一日的加壓與抵擋下變成礦石而曖曖生輝,最後化成暗湧伺機而出。
展示的作品多與欲望有關,當欲望被視作禁條,欲望並不會被封印或消失,而是在日復一日的加壓與抵擋下變成礦石而曖曖生輝,最後化成暗湧伺機而出。
2018〈渺小〉-〈生活中的不堪卻是必需〉/ Slight-Essential Yet Odious
城市裡零散的資源回收站、下方蜿蜒的水道、浴室的排水孔,乃至用來撕咬食物的口腔、汗腺、肛門、陰道…一個個綻放如繁花的孔隙在身體、在周遭,挾著不可或缺之實,卻被極力遮掩、忽視、塗抹、消滅。波特萊爾的《惡之華》是在陰暗角落的土壤,栽植出畸零絕美的生命之花,打碎了疲軟的美學規則,在風光明媚的嚮往之外,打造了一處能夠坦然相對、甚至是暴力相待的荒野,生活中的總總不堪如此必需,卻往往難以直視。
我在廢墟、街道、各種生活現場中探查存在的跡象,以不同的媒材對物件進行壞死性的美學重建,在原件與作品當中,其關係除了直覺性的微觀以外,也涵括了對於文明、社會、生命本身的詰問與諷刺,對他者的觀察、批判,最後是否都返回到對自身的審視,而後又產生出全新的觀點去詮釋世界。
In the cities, the scattered recycling stations, city sewers, bathroom drains, and even the mouth, sweat glands, anus, vagina…those things is absolutely essential but has been obscured, neglected, smeared, or eliminated by people.
Les fleurs du mal by Charles Pierre Baudelaire is an oddly beautiful flower of life grown in the shadow. It broke the conventional aesthetic rules and putting up a wilderness, where people are relatively open-minded and would even be violent to each other, outside of the longing promised land. The necessity of ugliness inn life is so unbearable and always hard to face.
I explored the existing signs in the ruins, the streets and various life scenes, and carried out the necrotic aesthetics reconstruction of the objects with mixed media. The connection of the original objects and my works created not only by the intuitionistic microscopic but also by whether a brand new perspective to interpret this world would be opened up by my self-examination through interrogation and sarcasm towards civilization, society, life itself and observation and criticism of others.
我在廢墟、街道、各種生活現場中探查存在的跡象,以不同的媒材對物件進行壞死性的美學重建,在原件與作品當中,其關係除了直覺性的微觀以外,也涵括了對於文明、社會、生命本身的詰問與諷刺,對他者的觀察、批判,最後是否都返回到對自身的審視,而後又產生出全新的觀點去詮釋世界。
In the cities, the scattered recycling stations, city sewers, bathroom drains, and even the mouth, sweat glands, anus, vagina…those things is absolutely essential but has been obscured, neglected, smeared, or eliminated by people.
Les fleurs du mal by Charles Pierre Baudelaire is an oddly beautiful flower of life grown in the shadow. It broke the conventional aesthetic rules and putting up a wilderness, where people are relatively open-minded and would even be violent to each other, outside of the longing promised land. The necessity of ugliness inn life is so unbearable and always hard to face.
I explored the existing signs in the ruins, the streets and various life scenes, and carried out the necrotic aesthetics reconstruction of the objects with mixed media. The connection of the original objects and my works created not only by the intuitionistic microscopic but also by whether a brand new perspective to interpret this world would be opened up by my self-examination through interrogation and sarcasm towards civilization, society, life itself and observation and criticism of others.
2018〈渺小〉-〈自燃之屋 〉/ Slight-Spontaneous Heritage Combustion
在台灣,歷史建物經常會莫名自燃,彷彿人們必須採信這是天氣般的現象,沒有財團擺布,沒有地主牟利,也沒有政府漠視,沒有任何的第三者居中。在現今社會裡,許多歷史相關文物是不是也會走入歷史,消失無蹤。
延續過去個人作品「家屋」的系列,這次將硫磺粉直接與銀箔小屋做氧化反應。一旦硫化後就無法還原,就如同被破壞或燒掉的房子,也很難回復原狀。
The Spontaneous combustion of the historical buildings happened frequently in Taiwan. People seem to believe that the situations are all caused by natural phenomena, without cocky megacorporation, indifferent government, or any others. Nowadays, many historical relics may go down in history and never show up again.
To be an extension of my previous works, Home, the little silver foil houses will be oxidized with brimstone powder. Once vulcanization occurs, it will never be recovered as same as the houses which were destroyed or burned.
延續過去個人作品「家屋」的系列,這次將硫磺粉直接與銀箔小屋做氧化反應。一旦硫化後就無法還原,就如同被破壞或燒掉的房子,也很難回復原狀。
The Spontaneous combustion of the historical buildings happened frequently in Taiwan. People seem to believe that the situations are all caused by natural phenomena, without cocky megacorporation, indifferent government, or any others. Nowadays, many historical relics may go down in history and never show up again.
To be an extension of my previous works, Home, the little silver foil houses will be oxidized with brimstone powder. Once vulcanization occurs, it will never be recovered as same as the houses which were destroyed or burned.
2018〈渺小〉-〈烙印〉/ Slight-Brand
住所外是行政院、立法院等的國家機關,時常在屋內就能聽到陳情抗議的口號,當陳抗團體越是堅決,政府似乎就越是充耳不聞,在一棟棟國家最高機構周遭設置拒馬,一圈一圈的把民意的殿堂妝點成私人會所,這些拒馬總有天會撤離,但被上面的鐵刺劃傷的人並不會真正痊癒。
計畫中試著找尋城市裡的拒馬及類似拒馬的刺網,及拆遷後的鋼條,並利用棉布與白膠拓印(鐵鏽),重新觀看拒馬和刺網不只是一道牆,它像星芒般以不同的結構連結著,或是連根拔起老房子,鋼條如同斷掉的血管,它們有著它視覺造型上的美感,但又殘酷的存在。在這次計畫中拓印它們,烙印城市的荒誕。
The legislature and the administration of Taiwan, Legislative Yuan and Executive Yuan, are located around TAV. I often heard the voice of lobbyism and protest in my studio, but it seems the more resolute public protests are, the government ignore more. Piling up razor wire barriers around r the building, like a decoration of private space instead of central governing authority . The barricades would be removed some day, howerver, their pain and suffering under the scar would never be recovered.
In this project, I will try to find the barricades or razor-wire fences in the city and the steel bars after the demolitions. Then I will rub the rust by cotton cloth and white glues. Not only take the barricades and razor-wire fences as a wall but also as a star-shape connection between different structures, even rooting out the old houses. The steel bars are like fractured blood vessels, beautiful but cruel. I will rub them in this project, and to brand with the absurd of the city.
計畫中試著找尋城市裡的拒馬及類似拒馬的刺網,及拆遷後的鋼條,並利用棉布與白膠拓印(鐵鏽),重新觀看拒馬和刺網不只是一道牆,它像星芒般以不同的結構連結著,或是連根拔起老房子,鋼條如同斷掉的血管,它們有著它視覺造型上的美感,但又殘酷的存在。在這次計畫中拓印它們,烙印城市的荒誕。
The legislature and the administration of Taiwan, Legislative Yuan and Executive Yuan, are located around TAV. I often heard the voice of lobbyism and protest in my studio, but it seems the more resolute public protests are, the government ignore more. Piling up razor wire barriers around r the building, like a decoration of private space instead of central governing authority . The barricades would be removed some day, howerver, their pain and suffering under the scar would never be recovered.
In this project, I will try to find the barricades or razor-wire fences in the city and the steel bars after the demolitions. Then I will rub the rust by cotton cloth and white glues. Not only take the barricades and razor-wire fences as a wall but also as a star-shape connection between different structures, even rooting out the old houses. The steel bars are like fractured blood vessels, beautiful but cruel. I will rub them in this project, and to brand with the absurd of the city.
2017 閃燃 Flash / 在睡著以後 After Sleep
時間不是一棟越建越高的樓房,而是碎形且騷動不止的沙塵,隨時都會變作當下的血肉。我剪下了曾掠過我記憶領空的所有一切的影子,把它們錯置,讓它們成為遠方搖曳的光火。
Time isn’t a building built higher and higher, but a fragmented pieces of puzzles can turn into part of today. I cut all the shadows of everything that used to be in my life, cross them, make them distant light.
Time isn’t a building built higher and higher, but a fragmented pieces of puzzles can turn into part of today. I cut all the shadows of everything that used to be in my life, cross them, make them distant light.
2017 不存在的幽靈 Fictional Spirit
我們一直都在各自的心智中經驗這個世界。 我們不能看見事物的本質,我們也無法擁有同樣的記憶。情感的左右、生理支配,再再決定著我們當下如何形塑世界。 畫布的基底是被刷染墨汁的箔,而我把影像轉印在畫布的背面,同時從背面開始縫紉輪廓,於是畫布的正面布滿虛線,像是一棟無中生有的廢墟在黑暗中搖晃,然後我再以清水沿著虛線洗刷,考古似地讓這棟廢墟更加鮮明,水則沿著針孔滲入背面,原先的影像因而暈開、甚至消失。
我個人視這一系列的作品為雕塑甚於平面繪畫,畫布的正面與背面都是完整作品的一部分,卻不能同時被看見,而不論是正或反面、都是藉由另一面以盲目的方式間接完成,縫紉當下,我不能掌控虛線的形狀,在洗刷虛線的過程,我也無法預測背面影像最後的模樣,這樣的不可預測性,反而讓作品從我的經驗世界中被釋放,當觀者沿著作品的兩面來回觀看與認知的同時,作品則能自然而然地在意識當中形成立體結構,並獲得充分的個人詮釋空間。
We all have been experiencing this world with our own mind. We can neither see the nature of things nor have the same memory. Emotional and physiological state determines how we shape the world in each moment again and again. The base of the fabric is foils painted with ink; I transferred the image onto the back of the fabric, and started with the stitches on the back for outlines. This made the front side of the fabric covered with dotted lines, like an old building that was made out of nothing and tumbling down in the dark. And then I, like an archaeologist, brushed along the dotted lines with branch water to make the old building more distinct. The water penetrated into the back through the pinholes, thus making the original image blurred, even disappear.
I personally consider this series of work more of sculptures than graphic paintings. Both the front and back of the fabric are a part of this whole work, yet they cannot be seen at the same time. Front side or back side, they require each other's existence to be completed
indirectly in a blind way. When I was stitching, I could not control the shape of the dotted lines. In the process of brushing the lines, I couldn't predict the final look of the image on the back. This unpredictable situation unexpectedly released me from my experience in the
world to create. When the viewers look at and perceive both sides of the work back and forth, they are able to naturally form a three-dimensional structure of the work in consciousness with sufficient room for personal interpretation.
我個人視這一系列的作品為雕塑甚於平面繪畫,畫布的正面與背面都是完整作品的一部分,卻不能同時被看見,而不論是正或反面、都是藉由另一面以盲目的方式間接完成,縫紉當下,我不能掌控虛線的形狀,在洗刷虛線的過程,我也無法預測背面影像最後的模樣,這樣的不可預測性,反而讓作品從我的經驗世界中被釋放,當觀者沿著作品的兩面來回觀看與認知的同時,作品則能自然而然地在意識當中形成立體結構,並獲得充分的個人詮釋空間。
We all have been experiencing this world with our own mind. We can neither see the nature of things nor have the same memory. Emotional and physiological state determines how we shape the world in each moment again and again. The base of the fabric is foils painted with ink; I transferred the image onto the back of the fabric, and started with the stitches on the back for outlines. This made the front side of the fabric covered with dotted lines, like an old building that was made out of nothing and tumbling down in the dark. And then I, like an archaeologist, brushed along the dotted lines with branch water to make the old building more distinct. The water penetrated into the back through the pinholes, thus making the original image blurred, even disappear.
I personally consider this series of work more of sculptures than graphic paintings. Both the front and back of the fabric are a part of this whole work, yet they cannot be seen at the same time. Front side or back side, they require each other's existence to be completed
indirectly in a blind way. When I was stitching, I could not control the shape of the dotted lines. In the process of brushing the lines, I couldn't predict the final look of the image on the back. This unpredictable situation unexpectedly released me from my experience in the
world to create. When the viewers look at and perceive both sides of the work back and forth, they are able to naturally form a three-dimensional structure of the work in consciousness with sufficient room for personal interpretation.
2017 星象 Constellations
獵戶、飛鷹、仙女、船隻、毒蠍。 宇宙是紙頁,星球是散落的字,被虛線連成神話與指南。 我則用實線梭縫,投影駐紮於過往的生靈,召喚它們在紙上夜巡,或許似曾相似、或許擦肩而過,我沿路撿拾記憶的碎片,若有似無的拼湊新的章節。
我依序運用了轉印、縫線、水墨等複合媒材,完成一件作品,而在最後的水墨階段時,我視作品為版畫的印版,進行單版印製,由於水墨濃厚之故,這樣的印製只能有一次機會,印製後的版畫與作品兩者都是創作的結果,而版畫卻又更近似於初初作品進行轉印時的模樣,彷彿在作品與版畫之間存在著輪迴。
Orion, Aquila, Andromeda, Carina, and Scorpio; the universe is a piece of paper, and the planets are scattered words, connected with dotted lines into myths and guides. I, using solid lines, stitch up and project the past creatures, to summon them on a piece of paper
for the night watch. With a deja vu and familiar feeling, I pick up pieces of memories along the way to put together a new chapter in an equivocal way.
I used mixed media that included transfer printing, stitch, and ink materials in turn to complete the work. While processing the final stage of ink material, I took the work as a plate and interpreted it by single wooden plate block pressing. The ink was thick, so I had only one chance to print. Both the block print and the work are a creation, but the block print resembles more the original work in the transfer printing stage. There seemed to be some form of endless cyclelike transmigration between the work and the block print.
我依序運用了轉印、縫線、水墨等複合媒材,完成一件作品,而在最後的水墨階段時,我視作品為版畫的印版,進行單版印製,由於水墨濃厚之故,這樣的印製只能有一次機會,印製後的版畫與作品兩者都是創作的結果,而版畫卻又更近似於初初作品進行轉印時的模樣,彷彿在作品與版畫之間存在著輪迴。
Orion, Aquila, Andromeda, Carina, and Scorpio; the universe is a piece of paper, and the planets are scattered words, connected with dotted lines into myths and guides. I, using solid lines, stitch up and project the past creatures, to summon them on a piece of paper
for the night watch. With a deja vu and familiar feeling, I pick up pieces of memories along the way to put together a new chapter in an equivocal way.
I used mixed media that included transfer printing, stitch, and ink materials in turn to complete the work. While processing the final stage of ink material, I took the work as a plate and interpreted it by single wooden plate block pressing. The ink was thick, so I had only one chance to print. Both the block print and the work are a creation, but the block print resembles more the original work in the transfer printing stage. There seemed to be some form of endless cyclelike transmigration between the work and the block print.
2017 容器 vessel
我重複的堆疊筆墨痕跡,讓試圖形構之物經由運筆的厚度積累,從畫作上的平面維度伸展至空間場域,在這樣沉吟式的創作裏頭,除了是破壞自我對繪畫一直以來的習慣,讓創作當下的能量不假藉其他美學形式,以最原始、純粹的狀態表現之外,同時是讓虛無的時光變得可視、變得可感知。對我而言,金箔正是時間與意識流的顯影劑,在重複貼箔、需要大量專注力的勞動過程當中,讓片段的生命狀態與心靈活動有跡可循。
I paint repeatedly, thicken something I try to present. I try to make time touchable and mind visible. Gold foil is kind of contrast solution and seal, embalm the moment.
I paint repeatedly, thicken something I try to present. I try to make time touchable and mind visible. Gold foil is kind of contrast solution and seal, embalm the moment.