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To post and reveal something/nothing

The paper fits unsupportedly into the inner world of the painting, opening outwards at a moment when the senses are not conclusive, melting into the materiality of the painting and remaining silently in tune with it, thus feeling distant (private) but still close (public) to the written content.

I depict "images of other people's lives" as the material for my paintings. The "I" at the moment of painting is completely detached from the subject, yet it goes through the digestive process of intimate expression and hand property that comes with painting itself.

The material plane of canvas and paper, for example, has long served as a tacit place for painting.In this work, the materiality of the paper (its repulsion of water), the uncontrollable causality and inevitability, the brush and the body of the painting simultaneously reveal themselves and mutually diminish each other, while the 'unevenness' of the folds, by flattening the symbolic expression of the brushwork, accentuates its meaningful flatness.

In the physical fact of the paper, each thoughtful brushstroke is diluted into flattened, colour-light shadows.

Under the surface of the image becoming a portal-private content, the diary-like murmur and intimacy can hardly be experienced, becoming a certain kind of image 'thing' that loses its self-representation, and the difference between the private and the public is gradually blurred in contemporary image conventions.

In addition to the medium of the painting (paper), there is also the 'wall' that holds the painting.

In the exhibition, the white wall becomes part of the work, rather the white wall becomes an element of the work, opening up the browsing space, requiring a certain psychological purity to be tempered by the smooth texture of the wall and its complete cleanliness, allowing the small size and the flatness of the content to still lend strength to the painting to blend into the wall and into the space.

Because the message of the painting is relatively cold, it requires the viewer to see it through the lens of experience, rather than just a one-way reading line. In the presentation of the exhibition, the viewer encounters the painting as a visual perception, rather than the size and content of the painting.


關於系列作品#喜 (si)的命名-

口語或使用上,「喜」通常以兩個字的形容詞出現,帶有正向聲調,而單個字-喜 感覺上較抽象。 (卻沒有另一個更抽象的字-愛 那麼地擁有它自己和大家對它象徵性的共識。)

畫畫的邏輯,以此比喻: 一,字面的形狀,看久漸漸陌生化的象形特質。帶出因陌生而來的愉悅和發呆狀。

二,由一個字,被截斷地像是一個動作(可能類似「閱。」),動作上攜帶著「喜」的開放性質地,卻 沒有更多論述的欲望。

如果這個文字本身的象形,和它抽象的狀態,剛好能和看繪畫的狀態相去不遠,卻又能因為文字和 繪畫的異質性的表達,而無法完全依賴參照,希望命名停留在這樣的狀態。


作品媒材 - 壓克力顏料、畫布、德國素繪紙、木框、鋁框。

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