Paintings are usually seen as a medium that allows viewers to invest their consciousness in it, reflecting meaning and imagination. However, the visual images we encounter now carry the shadows of many other images. The relationship between the painter and the viewer is no longer a "personal and unique spiritual interpretation," but more like facing the collective consciousness of the public.

In my paintings, the 'image' becomes an 'entrance'. However, beneath the surface of personal imagery, privacy has become difficult to experience and the image has become a kind of 'object' that loses self-expression. As a result, the difference between 'private' and 'public' has gradually blurred in the inertia of contemporary images.

 

In the era of social media, digital images occupy a significant part of our viewing experience. While the captured moments may seem random, they might have been arranged in numerous ways. Most of the time, these images become a composite of units and elements, rather than cogitation and context.

During the process of painting, I, the painter, am completely detached from the object being depicted. But through the language inherent in the act of painting and the physical process of using my hands and brushstrokes, the content materializes simultaneously with the brushstrokes, while remaining consistent with the materiality of the painting.

In my paintings, through the use of large areas of blank space as a fictional boundary, it exists simultaneously within and outside of the fiction, physically revealing the texture of the canvas while also serving as the shadow of the act of painting.

The thinking about painting extends to the overall presentation of the exhibition, tending to create a differential space-time rather than the spiritual expression of the painter.

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並非無法言明，而是呈現觸碰不到的距離

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“生活在現實之中，又總是和逃離現實的可能之間來回擺盪，作為可能性和不確定的存在，我似乎只能從自己的現實中尋找幻象之真。” 

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有時一幅畫作現前，畫布開啟的空間瞬成了時空當下的一處所在。這個被等待展開的時空，像是承認了一個現實之外確確鑿鑿的存在之地，尤其填滿背景的畫作，有如屹立不搖、超越現實的地方，因此尋不著視角的出處。

而畫布便是場景發生之地，顏料和筆觸所營造的感覺便是發生之事，這可能是繪畫和觀看上所能相互企及，仍然存在著和諧的關係。 面對空白的畫布，和它的關係總是充滿一種不確定，和畫布的關係仍懸置在一個現實和虛擬草圖的想像界線上。 
 

01虛空視角

 

觀察日常的影像中，人物的動作、擺姿、規則般地被約束在共通的形制之中，我們在凝視的，多半已是影像元素的集合而非內容。

 

猶如螢幕向我們的眼睛透射光線，大量的影像如眾多意識堆疊下的結果向觀者迎面而來。 

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薄塗使畫布的表面從背後透露出來，與留白顯露出的質地，帶出畫布的現實重量，此物質性的指認，攔截了畫面所帶往的意義與想像，於此的「白」像是螢幕的光向著觀者發散、接近，而螢幕的後方則是甚麼都沒有的虛空。

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02佈局者－不斷延遲的敘事

讓繪畫感受性的描繪，被匡限在平坦的圖像性輪廓、偶然且無關緊要的場景和無意義的塗抹中，彷彿一切都還在對焦、確認、調整姿態，在畫面的呈現與抑制之間來回擺盪。

 

與其說試圖給予無法辨認的事物，不如說是讓出許多“空有感覺”的入口，來阻斷感覺被歸結的可能，以更自然的姿態與結論擦身而過。

 

具象的事物像是打開敘事的假動作，再以抽象的塗抹方式把「情感」濃縮成「感覺」，如同加了什麼穩定的化學物質。 

即便是以繪畫，我想著的最首要並非去調配畫面的意義，而是讓一個純粹的感覺覆蓋，「它」沒有一個虛構的對象在那裏欲成為一個述說的通道，如果這個感覺是一個不能被想像的「想像的結果」，期望它更能以感覺被感覺。