The idea behind
這次的展覽名稱《一處鏡子花園》的想法
the exhibition name "A Garden of Mirrors"
在命名上我思考滿久的
took me quite a while to come up with
一部分是我的繪畫
Partly because my paintings
並沒有一個直接描繪的景色
don’t directly depict a specific scenery
也不是一個可辨識的造型
nor do they have a recognizable form
所以在展覽論述上
Therefore, in the exhibition statement
我覺得引用萊布尼茲在《單子論》當中
I felt that quoting a passage from Leibniz's “Monadology”
提到一段話會蠻貫穿這次的展覽概念
would perfectly capture the concept of this exhibition
「物質的每一部分都可以被構思為一個長滿植物的花園，
"Each portion of matter may be conceived as like a garden full of plants
和水中游魚攢動的池塘。
and like a pond full of fishes.
而植物的每個枝杈、
But each branch of every plant,
動物的每個肢體、
each member of every animal,
它的每一滴汁液卻又是這樣的一個花園和這樣的一個池塘。」
each drop of its liquid parts is also some such garden or pond."
這段文字我覺得它具有一種視覺上
I found this passage visually captivating
卻聚焦在時間動態上的追溯以及推移
with its focus on the dynamic nature of time
也隱藏整體性中帶著某種連續性的動態所營造出的騷動感
and the sense of continuity within its holistic framework
是非常吸引我的
that greatly appeals to me
而鏡子是一個非常有趣的東西
Mirrors, on the other hand, are fascinating objects
它不但可以創造出無限迴圈的狀態
Not only can they create an infinite loop
也影射出作為一個觀察者的角色
but can be implied as an observer
希望這個展覽名稱能夠
I also hope the name of this exhibition
讓大家在閱讀作品能有更多的想像空間
can guide everyone to have room for more imagination while standing in front of my artworks
而當代環境的狀態
The current state of the contemporary environment
就像是映在鏡子裡的花園
is like a garden reflected in a mirror
虛幻而又擁擠
unreal yet crowded
在就在藝術空間展出九件畫布作品
In the exhibition nine canvas works are displayed in Project Fulfill Art Space
以及一些手稿和繪製牆面的現地製作
as well as some manuscripts and large site-specific installations
在展場裡，有一個轉角
In terms of space, there is a corner that
又深入進去的空間來呈現手稿
presents a wall of manuscripts
挑選了大概這三年
Selected manuscripts from
不同時間斷層的想法
roughly the past three years are laid out
因為我並不是一夕之間就開始以碎筆的方式畫圖
I believe that I didn’t begin drawing with fragmented strokes overnight
希望可以從作品前置思考上的差異
and I also hope to respond to flat canvases
來回應到平面畫布作品
by expressing their differences in my ideation process
而牆面現地製作
The on-site wall creations also aim to
也希望可以把碎筆的繪畫概念去
strengthen my sense of painting by the fragmented nature of brushstrokes
顯現出大尺度跟小尺度之間的隱性張力
and reveal the hidden dynamism between site-specific and canvas paintings
在我的想法上如果
In my opinion if I had to
以另一個創作手法去比擬的話
use another creative medium as a metaphor
我會覺得跟做雕刻或浮雕滿接近的
I think it would be somewhat close to sculpture or relief
首先先有一個載體
There first exists a base
去決定哪些空間是我要掏空的
then I decide what to paint as a kind of excavation
再以工具削去並接近理想的內容
and I carve it out to bring the entity closer to its ideal
只是這邊相反的是掏空且削去的
But as a contradiction, the excavations are
反而是我畫的地方
where I’m laying down paint
破碎本身有時候並不是消極的
Sometimes fragmentation is not negative
反而是擁有積極的意涵
but rather has a positive connotation
透過碎筆的姿態
Through the posture of fragmented brushstrokes
在一個去折曲的平面畫布上
On a flat canvas, initially a plane without folds
慢慢搭建鋪滿著動作痕跡
I slowly build up traces of action
也暗示著曾經有力量作用於此
implying that a force once acted upon it
也可能意謂著力量曾經經過
or perhaps suggesting a force has passed through it
彷彿是痕跡的製圖
It’s like mapping traces
調動的是時間性
mobilizing temporality
這次展出的作品«驟雨之前»、«殘焰»等等
In works such as “Before the Thundershowers” and “Embers”
用畫布本身的存在和厚度面積的擴延
A frame is formed using the bare canvas itself
使之相對曖昧的轉折處被消彌了
and the unpainted margin of the four sides
讓畫布形成一種框景
which eliminates an ambiguous transition
減輕了本身帶有的物性
and loosens the canvas’ own materiality
彷彿是一張紙張上的描繪
It becomes like drawing on a piece of paper
也彷彿是一張重覆曝光的照片
and like a photograph that’s been repeatedly exposed
也因為繪畫形式上的碎筆
Also, because of the patterned perceptions
所營造的感知模式與對象
created by fragmented brushstrokes in the form of painting
進行同調的狀態
it harmonizes with the object
在當中浮現心中的風景以及記憶
Within this, landscapes and memories emerge in my mind
隨著這幾年完成的作品當中
Through my completed works over the past few years
對於這種繪畫方式產生出有機性的騷動感
this painting method has generated a sense of organism
為此著迷
which fascinates me
也從當中談及我所想觸及的魅像概念
It discusses the concept of a phantom image
它是一種在觀看過程中
which will only form itself and become recognizable
能夠慢慢成形後才能辨識
during the process of observation.
