展覽論述：
是不是只有足夠浪漫的人才會做與藝術有關的事？魯志楷個展《浪漫製造How To Be Romantic》是藝術家透過自身內在的感知經驗出發，對「浪漫」一詞進行的描述練習。他以平靜單純的眼光，對浪漫的種種形象進行取樣，並找出存在於畫面表裡之間的張力，用不同媒材組合環境、空間與身體之間的交疊，尋找著感性在物質世界中可能的表達。

以第三人稱凝視著外界環境，試圖收集場景裡的可見與不可見，霧氣、炫光裡朦朧與騷動，反映人們對於不易捉摸事物的嚮往，也讓觀者與藝術家一同經歷從幽微過渡至清晰的時間。不同於過去浪漫主義裡的激情與感性，取材景觀的主題是令人敬畏的宏觀，多將大自然描成完美理想的狀態，魯志楷則是用鏡頭對準了城裡的景，聚焦於被光線渲染的人造物以及被遮蔽的街道與田野，在非純粹紀錄亦非純粹造型性思考的影像中，同時雜揉寫實及如畫的語彙。

從「看不見」來討論「看得見」的事情，並以此接近視覺裡可視性的真正意義，以粉筆為題的系列，亦是面向此一意識做出了延伸與回應。魯志楷一直對於行為連續性、身體測度與內在經驗的連結感興趣，他以自己的身體介入，對物質進行外部的解構與內部探勘，揭示了「洞」自身與洞中材質的遺留，再現藝術家不在場的身體以及投射於觀者的想像經驗。粉未飄散於表面的俯視、粉塵作為沈澱物的縱向累積，原點相對於不斷位移、壓印之後的路徑，皆暗示創作時身體重複行為所致的產出，在足跡和粉塵的堆砌之中，連續的時間性宛若疊影般呈現在紙上的二維象限。

亮光與黑影、清楚與朦朧、脆弱與堅固，魯志楷將這些二元邊界逐漸抹去，兩者在創作過程中所產生的流動與辯證，終在這個展覽裡被自由地展開。「浪漫」也許不再只是一個情感承諾的虛像，而是在現實中的徒勞重複，《浪漫製造How To Be Romantic》透過展名提問，與觀者一同思考關於感性經驗的詮釋，並留給所有人再造定義的空間。

Does the realm of art exclusively beckon those brimming with an abundance of romantic inclination? Lu Chih-Kai＆#039;s solo exhibition, "How To Be Romantic", embarks from the artist＆#039;s intrinsic realm of perception to deeply explore the term "romance". Through a serene and unadorned perspective, he samples various representations of romance, identifying the tension that resides within the imagery. Employing an amalgamation of diverse media, he interweaves environment, space, and corporeality, meticulously seeking avenues to express sensibility within the material realm.

Gazing upon the external environment in the third person, an attempt is made to gather both the seen and the unseen aspects within the scene—mist, diffused radiance, haze, and commotion. These elements reflect humanity＆#039;s yearning for the enigmatic and evoke a journey shared by both the observer and the artist, transitioning from the subtle to the clear across time. Diverging from the fervor and sentimentality prevalent in past romanticism, the thematic landscape is grandiose and awe-inspiring, often depicting the natural world as a state of ideal perfection. Lu Chih-Kai, on the other hand, trains his lens upon urban landscapes, zeroing in on man-made structures bathed in the play of light and the hidden alleys and fields. Within these images that transcend pure documentation and abstract stylization, he masterfully intertwines the vocabularies of realism and the picturesque.

Exploring the realm of the "unseen" to delve into matters of the "seen", unveiling the profound significance of visibility within visual perception. The series centered around chalk extends as a response to this very consciousness. Lu Chih-Kai＆#039;s enduring curiosity resides in the intricate interplay of behavioral continuity, bodily measurements, and internal experiences. He engages his own body, conducting both external deconstruction and internal exploration of materials. He reveals the residual traces within the "void" itself and the essence of the materials contained within, conjuring forth the absent physical presence of the artist and evoking the imaginative experiences projected onto the viewer. The overheard perspective of chalk particles lingering on surfaces without dispersing and the vertical accumulation of chalk dust as sediment suggest the outcomes of repetitive bodily actions during creation. The shifting origin point relative to the path impressed after continuous movement alludes to the results generated by the iterative gestures of the body throughout the creative process. Amidst the accumulation of footprints and chalk dust, the seamless continuity of time materializes like overlapping shadows within the two-dimensional realm of paper.

Radiance and shadow, clarity and haze, fragility and resilience—Lu Chih-Kai erases these binary boundaries gradually, allowing the fluidity and dialectics born from their interaction during the creative process to flow freely within this exhibition. In this realm, "romance" perhaps no longer remains a mere illusory pact of emotions, but rather, a cycle of futile repetition within reality. "How To Be Romantic" raises inquiries through its title, inviting viewers to contemplate interpretations of sensory experience and offering a canvas for all to redefine.

REFERENCE

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