展覽論述
文｜彭禹慈
一處鏡子花園
「物質的每一部分都可以被構思為一個遍地長滿植物的花園，和水中游魚攢動的池塘。而植 物的每個枝杈、動物的每個肢體、它的每一滴汁液都又是這樣一個花園和這樣一個池 塘。」 ——萊布尼茲，《單子論》(La monadologie, §67)
破碎不一定是消極的，也是可以有積極的內涵，以一種摺曲的繪畫觀去搭建作品，將其繪畫構成進行解構後，失去了辨別的優勢，逐漸變得模糊，而繪畫手勢中的任何折曲，一彎、一折、一凹，鋪滿在空間裡，而作為結構而存在的屬性卻又簡潔的標註他們的狀態，而畫布平面空間，一開始本身卻是『去折曲』空間，也暗示著曾經有力量作用於此，也可能意謂著力量曾經經過，彷彿是痕跡的製圖，調動的是時間性。以解構而重建作為創作方式，從另一個極限形式到另一個極限形式，以便完成自我轉型繪畫語言構成，以一個風格化的方式活著，而活著就是對其刻板印象的破壞。
白色是一項能切實並深刻揭露繪畫真相的創作方式，至關任何的瑕疵都會引起注意，而碎形出於清晰，而負載著質地，而作為繪畫構成基礎，它同時也負載了強化。
突然意識到，或許我一直在做某一種魅像，摸不著邊際，或者是一種氣候，確切地說，細微的、騷動的被放置在所欲之處，使之映照在此，而這些差異自行成了一個氣候，完全不遵循且停留在自己的空間深度裡。
Artist Statement Peng, Yu-Tzu
A Garden of Mirrors
“Each portion of matter may be conceived as like a garden full of plants and like a pond full of fishes. But each branch of every plant, each member of every animal, each drop of its liquid parts is also some such garden or pond.” − Gottfried Wilhelm Leibniz, The Monadology, 1714
Fragmentation is not necessarily negative; it can have positive connotations. Unfolding as a perspective on painting blurs and relieves a composition of its distinguishable benefits. Any folds in the painting gestures - a bend, a turn, a concavity - fill space while the attribute of existing as a structure succinctly marks their state. The canvas, initially a “plane without folds,” implies there was once a force acting upon it. An indication that power has passed through as if mapping traces and arranging temporality. Using deconstruction and reconstruction as a creative method, from one far end to another, completes the transformation of self and formation of a painting language; living in a stylized manner, where living means the destruction of its stereotypes.
White, a distinctive element in artworks, is able to precisely and insightfully reveal the true state of paintings, as every flaw is then subject to catch viewers’ attention. Fragmented images come from clear ones and carry textures within themselves, so they underlie and also fortify paintings.
It suddenly dawned on me that perhaps what I have been creating is some kind of intangible, ghost- like image, or an atmosphere, rather. Subtle, tumultuous things were placed where I wanted them, so that they were reflected here and there – and these differences created an atmosphere in their own right. They didn’t follow any rules but stayed deep in their own space.
Translated by RAY HE
