2020 容器-邊界 vessel-Boundary
過去著迷於如何讓內心風景在平面上刻鑿,越強盛越猖狂,現在漸漸意識到社會乃至個人的框架如何作用,視線偶爾深沉入底,看見心底的暗流,要走向什麼地方,需不需要抵抗,最後形成一陣漩渦,不停推移自我的界線。
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.
過去著迷於如何讓內心風景在平面上刻鑿,越強盛越猖狂,現在漸漸意識到社會乃至個人的框架如何作用,視線偶爾深沉入底,看見心底的暗流,要走向什麼地方,需不需要抵抗,最後形成一陣漩渦,不停推移自我的界線。
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.
2020 處方箋 Prescription
疾病理所當然造成恐慌,疾病終究也會化作事件躺入歷史,在那之前,與事件共存的當代社會將如何產生變動,我們又該如何重新學習使用因恐懼而變得敏銳的感官。我謄寫醫療文獻的數據,以未來學的視野凝視當下,並與當前的集體焦慮對話。
Copying statistics from medical literature, we know this pandemic moment will pass and we’ll get through it. The only thing we have to do is to relearn how to use our senses sharpened by fear.
疾病理所當然造成恐慌,疾病終究也會化作事件躺入歷史,在那之前,與事件共存的當代社會將如何產生變動,我們又該如何重新學習使用因恐懼而變得敏銳的感官。我謄寫醫療文獻的數據,以未來學的視野凝視當下,並與當前的集體焦慮對話。
Copying statistics from medical literature, we know this pandemic moment will pass and we’ll get through it. The only thing we have to do is to relearn how to use our senses sharpened by fear.
2019備忘錄 Memo
這一系列的作品來自我小時候在鄉間,看到母親、阿嬤忙碌做事流了一身汗, 她們身上穿的輕薄衣物被浸溼,光線可以隱約穿透。還有院子裡曬衣服,風跑進去袖口,撐出一個在跳舞的人的樣子。然而日漸泛黃的衣服終究是被丟棄了,每個人的生活狀態也不停在改變,記憶是覆寫或是另存新檔? 我在市集尋找那些熟悉的二手衣,它們成為了某個人不再需要的零件,而我把它們當作龐大的加密資料庫,破譯、揣測他人抽象的生命史。在意義過剩的時代,回憶會是個人的建構過程或是累贅?
I spent my childhood in the countryside, I can remember my mom and grandma worked hard and soaked in sweat every day so sunlight can go through their clothes. I also remember the big wind blew up the clothes hung outdoors which became da
ncing people around. They turned out to be thrown away over time, everybody’s changing. What is actual memory? When we always move on, we save the memory to a new file or just overwrite it? I found the vintage clothes from flea markets, they used to be part of someone and I consider them as databases to simulate an abstract history. In an era of meaning surplus, is history still a necessity?
這一系列的作品來自我小時候在鄉間,看到母親、阿嬤忙碌做事流了一身汗, 她們身上穿的輕薄衣物被浸溼,光線可以隱約穿透。還有院子裡曬衣服,風跑進去袖口,撐出一個在跳舞的人的樣子。然而日漸泛黃的衣服終究是被丟棄了,每個人的生活狀態也不停在改變,記憶是覆寫或是另存新檔? 我在市集尋找那些熟悉的二手衣,它們成為了某個人不再需要的零件,而我把它們當作龐大的加密資料庫,破譯、揣測他人抽象的生命史。在意義過剩的時代,回憶會是個人的建構過程或是累贅?
I spent my childhood in the countryside, I can remember my mom and grandma worked hard and soaked in sweat every day so sunlight can go through their clothes. I also remember the big wind blew up the clothes hung outdoors which became da
ncing people around. They turned out to be thrown away over time, everybody’s changing. What is actual memory? When we always move on, we save the memory to a new file or just overwrite it? I found the vintage clothes from flea markets, they used to be part of someone and I consider them as databases to simulate an abstract history. In an era of meaning surplus, is history still a necessity?
2019容器-隧道 Tunnel
這次的作品〈容器─隧道〉系列,來自我每天會經過的一個地下道,昏暗的地下道裡面僅用一盞盞的黃色燈泡照明,重複穿越相似的光線時會格外恍惚,有時突然就成為靈光的一部分。而在靈光發生的當下,靈光是不是能成為一種語言,抹除與他者的界線,在〈容器─隧道〉當中,我以「流動」與「凝固」兩者交叉比對,返回靈光發生的現場,或說返回到與靈光交融的狀態。
I enjoy the moments when I pass through a tunnel which doesn’t belong to any both ends. I’m always absorbed between the yellow lights and melting into it. Using the techniques of wash painting with gold leaf and silver leaf, it’s like building an entrance of empathy. Is it possible that we understand each other throughout by sharing a same moment instead of language?
這次的作品〈容器─隧道〉系列,來自我每天會經過的一個地下道,昏暗的地下道裡面僅用一盞盞的黃色燈泡照明,重複穿越相似的光線時會格外恍惚,有時突然就成為靈光的一部分。而在靈光發生的當下,靈光是不是能成為一種語言,抹除與他者的界線,在〈容器─隧道〉當中,我以「流動」與「凝固」兩者交叉比對,返回靈光發生的現場,或說返回到與靈光交融的狀態。
I enjoy the moments when I pass through a tunnel which doesn’t belong to any both ends. I’m always absorbed between the yellow lights and melting into it. Using the techniques of wash painting with gold leaf and silver leaf, it’s like building an entrance of empathy. Is it possible that we understand each other throughout by sharing a same moment instead of language?
2019 索多瑪之島 Sodom Island
它並沒有被神所譴罰,當然也不曾遭天火焚毀。神把惡行都留在地上了,索多瑪成為人間的離島,在島上,人可以任意相愛、不必遮掩自己的慾望,地上的人看見了就感到憎惡,於是說所多瑪的人是因為「照他們一味的行淫,隨從逆性的情慾」,因而被神顛覆。事實是,神早先看見人的恐懼,於是先把潔淨的、神聖的索多瑪自地上分離,如果有天地上的人不再相互剝奪,神就會把索多瑪放回地上,每個人都能成為完整的自己。