「詠物」2023 鄭秀如個展

「午後的斜陽，穿越貼在牆上的商品外殼，烙下一只「空」的影子，意識瞬間脫離了現場，我是眼前那個透明空間，因陽光而顯形，這般閑靜的召喚究竟是什麼？我的時間濃度清澈到剩下呼與吸，世界的速度被調緩了，只知道那所屬詩的空間，我佇足許久，直到再度意會身體在場。」（2009.6.9年寫於官田工作室）

亙古至今，詠物詩是古人寄身於山林澗水，神遊物外、以物擬情。而今，人彷彿將自然山林去背退隱，與現代人為伍的對象，或許是這些商品外殼的消費物與其形。正當透明包裝保護殼裡的物品被取走之後，附在商品外層的泡殼塑膠轉瞬淪為廢品，曾依附其上的保護及展示作用隨即消失，在消費的洪流中淪落為無用之物。

陽光照射在泡殼塑膠這個「空的空間」，徒留淺淡的虛影，輸出的質地如同素描作品般的簡樸，卻為此虛空留下完美的捉形（drawing），物品的「形」跳脫出「實」的界線，讓觀者能對物品的實體產生多重的思考，當物品的定義在此弱化，詩意便有蝸居的空間。莊子在《逍遙遊》所言：「無用之用，方為大用」，肯定人與物存在的獨特性與價值。影像為「詩」留下了空隙，為物、為我的想像留下了餘地。

《詠物》系列作品留下的空，是缺席、是餘地、是空隙，意圖鬆開生活裡形影不離的限制與固定性，延展無用之用的創造價值。以對日常的細緻洞察與感受，思考自身與其他事物在場與缺席之間的共融關係。構築出隱於日常的詩意宇宙。—《詠物》個展（鄭秀如）

"The afternoon setting sun shone upon the wall, piercing through the clamshell package, casting a shadow of emptiness. In that moment, my consciousness detached from the scene. I became that transparent space, made visible by the sunlight. What was this serene call all about? My sense of time became so clear that only breaths remained. The world＆#039;s pace slowed down, and all I knew was that space belonging to poetry. I stood there for a long time, until I once again became aware of my body in that place. " (Written on June 9, 2009, at the Guantian Studio)

Through the ages, poems of odes to things are the way ancient people expressed their emotions through mountains and rivers, explored the world beyond the mundane beings, and conveyed their feelings through objects. Nowadays, people have replaced mountains and rivers with superficial packaging, discarding their natural beauty in favor of clamshell packaging and other forms of leftover commodities. After the items inside the clamshell packaging are removed, the packaging itself becomes waste instantly. The previous functions of protection and display also disappear, being reduced to uselessness within the torrent of consumption.

Sunlight shines on the empty space within the clamshell packaging, leaving only vague shadows. Its texture is simple like a sketch, yet it leaves behind a perfect drawing within this space. The item＆#039;s "form" transcends the boundaries of "substance," allowing viewers to generate multiple images on the item＆#039;s reality. When the definition of the item becomes less distinct, there is room for poetic dwelling. In Zhuangzi＆#039;s "Free and Easy Wandering," it is said: " The usefulness of unusefulness is the greatest usefulness. " He affirms the uniqueness and value of both individuals and objects. The imagery leaves gaps for ＆#039;poetry,＆#039; allowing room for objects and my imagination to inhabit.

The spaces left behind by the " Image of Things " series are absences, allowances, and gaps. This concept aims to loosen the constraints and fixities that are inseparable from life, extending the creative value of the usefulness of unusefulness. Through meticulous observations and subtle perceptions of daily life, I reflect upon the fusion between my presence and absence and that of other things, constructing a poetic universe concealed within everyday life.

- " Image of Things "Solo exhibition, CHENG,HSIU-JU

■靜宜大學藝術中心參觀資訊■
開放時間：週一至週五 9:00-18:00
歡迎至靜宜大學藝術中心官方網站瀏覽：https://art.pu.edu.tw

■專文評論■
日常之物，神韻之詠∣陳敬介
透明的陰影：關於鄭秀如個展《詠物》∣沈裕融
網址連結 ｜https://art.pu.edu.tw/var/file/55/1055/img/1083/home.html