2022 聖傷 Stigmata
「聖傷」系列以核心關鍵詞「wrinkled delicate fabric draped loosely over Goddess statue laying ontop of a marble slab」輸入AI生圖程式中,進而演算一系列相關圖像,再根據演算結果疊合多張圖像後轉印、繪製於銅箔上,過程中不斷調節墨水濃淡與暈染狀態,使其介於地景與曖昧的身體形象之間。
當AI生圖程式藉由具備深度學習的自然語言處理模型解析我給予的文字進而生成圖像,由於演算法讓圖像充滿隨機性,過程中需要根據圖像的生成情況進行關鍵詞的更換、校正與改變敘述的語彙及修辭,透過重複演算以生成我能夠運用的材料,如同是與AI程式協商及斡旋。因此,AI生圖程式產製圖像的過程是否可視為一種對話、書寫與描繪?而在箔上繪製演算結果的手法是否成為一種臨摹?
Stigmata
The series “Stigmata” is based on a collection of images produced by an AI image generator under the keywords “wrinkled delicate fabric draped loosely over Goddess statue laying on top of a marble slab.” The images generated by the AI algorithm were then layered and transferred to be painted on copper foils. In the process, the shades and blending of the ink had to be constantly adjusted to keep the images in between obscure landscapes and ambiguous body shapes.
With a natural language processing model, the AI image generator was capable of learning in depth to analyze the words I gave, and thereby generating them into images. As the algorithm engendered randomness in the images, it was necessary to alter the keywords, and to adjust or change the vocabulary and the figure of speech constantly. When I repeated the algorithm process to generate materials for my work, it was as if I had been discussing and mediating with the AI program. In this regard, can the process of creating images through an AI image generator be considered as some sort of conversation, writing, or illustration? By the same token, should the paintings based on algorithm results be considered as a form of art practice?
2021 詠嘆調 Aria
縫線的時候我經常想起外婆還有阿婆,他們都能夠裁縫,做一家大小的衣褲,但後來罹患阿茲海默,最初像袖口的一根棉線,有些小事記不起來,最後那根棉線被抽出來,整件衣服都跟著散開,阿婆忘記自己是誰,人的框架似乎也瓦解。
之後我常常想記憶是什麼,可能混雜了一些事實、一些情緒還有一些妄想,當我們說遺忘的時候,大概指的是某個人的一部分佚失吧。我用針線去重譯佚失的時間、或許是沒有歸屬者的物件、或許是小時候的擁抱,它們最後都導向一種深刻的悼念以及生命的同理。線的走向看起來張狂恣意但在縫紉的時候需要不停從畫布的反面評估計算,棉線吸收刷染上的墨水而產生留白,所以真正形成輪廓的從不是刻意編排的線段。
When I am sewing, I often think of my grandmothers, who were both great tailors that made clothes for the entire family. However, they both suffered Alzheimer later in life. At first, they forgot things as trivial as a single stitch at the cuff of a sleeve. As time went by, they eventually forgot who they were as if the structure of their identity was falling apart like a shirt without a single stitch.
From their dilemma, I started pondering on the definition of memory, which I considered to be a mix of truth, emotions, and illusion. Therefore, when we say we forget something, it is implying a partial loss of identity. With needles and threads, I have reinterpreted the loss of time. Perhaps these derelict objects along with childhood hugs will draw us to a deeper mourning and compassion for life. The directions of the stitches may seem carefree, yet they were carefully calculated and arranged from the back of the canvas throughout the entire sewing process. The stitches have absorbed the ink, creating a blank leaving effect on the picture that brought out the silhouettes, which have never been a composition of deliberate outlines.
縫線的時候我經常想起外婆還有阿婆,他們都能夠裁縫,做一家大小的衣褲,但後來罹患阿茲海默,最初像袖口的一根棉線,有些小事記不起來,最後那根棉線被抽出來,整件衣服都跟著散開,阿婆忘記自己是誰,人的框架似乎也瓦解。
之後我常常想記憶是什麼,可能混雜了一些事實、一些情緒還有一些妄想,當我們說遺忘的時候,大概指的是某個人的一部分佚失吧。我用針線去重譯佚失的時間、或許是沒有歸屬者的物件、或許是小時候的擁抱,它們最後都導向一種深刻的悼念以及生命的同理。線的走向看起來張狂恣意但在縫紉的時候需要不停從畫布的反面評估計算,棉線吸收刷染上的墨水而產生留白,所以真正形成輪廓的從不是刻意編排的線段。
When I am sewing, I often think of my grandmothers, who were both great tailors that made clothes for the entire family. However, they both suffered Alzheimer later in life. At first, they forgot things as trivial as a single stitch at the cuff of a sleeve. As time went by, they eventually forgot who they were as if the structure of their identity was falling apart like a shirt without a single stitch.
From their dilemma, I started pondering on the definition of memory, which I considered to be a mix of truth, emotions, and illusion. Therefore, when we say we forget something, it is implying a partial loss of identity. With needles and threads, I have reinterpreted the loss of time. Perhaps these derelict objects along with childhood hugs will draw us to a deeper mourning and compassion for life. The directions of the stitches may seem carefree, yet they were carefully calculated and arranged from the back of the canvas throughout the entire sewing process. The stitches have absorbed the ink, creating a blank leaving effect on the picture that brought out the silhouettes, which have never been a composition of deliberate outlines.
2021 環世界 Umwelt
環世界(Unwelt)是指以自我為中心的世界,不同生物儘管在同一環境下,也能夠感知到不同的世界面目。五十嵐大介作品中的一名科學家進行著「動物的人化」,藉由青蛙的基因製造出與人類幾乎無異的「實驗動物」,以達成宇宙移民的計畫,而在計畫底下,科學家認為人類的環世界早已變質,與神疏遠,唯有透過人與動物的結合,才能進入動物的環世界,重新體會到神的存在。我利用大量解剖學、動植物圖鑑作為一座龐大的基因庫,而得以擬造一個個新的環世界,鳥的翅膀成為耳廓,葡萄沿著肺葉結果,鬆動生物學的架構,讓現實有間隙,讓光有孔可入。
環世界(Unwelt)是指以自我為中心的世界,不同生物儘管在同一環境下,也能夠感知到不同的世界面目。五十嵐大介作品中的一名科學家進行著「動物的人化」,藉由青蛙的基因製造出與人類幾乎無異的「實驗動物」,以達成宇宙移民的計畫,而在計畫底下,科學家認為人類的環世界早已變質,與神疏遠,唯有透過人與動物的結合,才能進入動物的環世界,重新體會到神的存在。我利用大量解剖學、動植物圖鑑作為一座龐大的基因庫,而得以擬造一個個新的環世界,鳥的翅膀成為耳廓,葡萄沿著肺葉結果,鬆動生物學的架構,讓現實有間隙,讓光有孔可入。