張開眼即所見，光線讓景物被看見，視覺激起慾望、佔有，改變了人類的行為。生命經驗的累積又對視覺產生了質變，社會、科學、價值觀、信仰等讓視覺語言不斷推陳出新。這讓我想起了十九世紀的印象派，當便於攜帶的軟金屬錫管裝顏料發明之後，畫家開始離開工作室、離開貴族、記憶，開始轉向大自然，也可以說是轉向了真正的自己。怎麼說呢，我覺得面對大自然也同時是面對原始未被加工的狀態，那是人類本能野性的狀態。所以那之後的繪畫開始有了人性與真相，也是我感興趣的開始。

隨著科學進步的發展，照相、攝影機的發明，取代了寫實畫的意義，應該說從客觀寫實轉往主觀寫實。繪畫創造世界，猶如新的現實空間。這時繪畫才開始多元民主起來，有依賴科學理性分析的繪畫精神，也有活出人類本能的衝動語言，隨著時代的改變演進，繪畫一直跟著人類移動，互動頻繁。對我來說，我最大的繪畫改變，或說觀看的改變，來自大學時主修的電腦3D動畫，那種在虛擬軟體裡建構一個模型、同時還可以虛擬打光、加上以假亂真的貼圖再透過算圖，最終形成動畫影片的過程實在很神奇。

當意識到一秒的影片其實是由24張或以上的靜態圖片所形成，你會開始對現實產生錯覺。也就是現實本身一直在動、在變化這個平凡的概念變得如此清晰，如動畫片般連續的播放著，咀嚼著時間、空間的意義。連續的影格概念在我的畫面建構上可以看到帶有線條感、如切割般的繪畫痕跡，重複的點與線在早期的作品也很常出現，動態感來自於微變化地重複連續。也因為那種對動態感的景觀研究，我專注的反而在結構、內在的心理狀態，也因此表層的彩色像是被我撕開，用最基本的黑白去畫，對我來說是更真實的存在感受。可能因為當時住在都市，我想灰色是都市的顏色，一切感受都是被快速的流動消除的，只剩下最底層的精神結構支撐著生活。

2020年疫情的關係搬回了台東，身心靈也終於可以好好充電，好像把一種遺失很久的安靜找了回來。這裡的風景一直都是救贖，並不是大山大水，而是樸實與寧靜。飽和的色彩也隨著日子沖淡了原本內心的灰，色彩終於有了明亮的意義。太陽剛升起來照到大地的橘光，隨著時間由轉黃轉白，影子從很斜長一直變形，風景的模樣隨著時間持續改變像是被雕塑著，好像每段時間都有屬於它的寧靜，





Yellow – Shaw Yan Chen Solo Exhibition

When our eyes open, at that moment, we see what is in front of us because of light. Vision arouses our desire, lead us to possess and to change our behaviours. The accumulation of life experience produces qualitative changes in our vision. Changes in society, science, values, beliefs, etc. have made visual language constantly innovate. This reminds me of the Impressionists of the nineteenth century. After the invention of easy-to-carry soft tin tubes of paint, painters began to leave the studio, the aristocracy, and memory. They turned to nature – in other words, they turned to their true selves. How should I put it? I think confronting nature means facing the original and unprocessed state, which is the instinctive and wild condition of human beings. So, the paintings after that stage begin to embrace human nature and truth; this also marked the origin of my interest.

With the development of science, the invention of photography and video cameras negated the point of realistic painting. With this has come a shift from objective realism to subjective realism. Painting creates a world, like a new realistic space. Painting began to become pluralistic, democratic. There arose a spirit of painting that relied on scientific and rational analysis, and there was also painting that reflected impulsive language that shows human instincts. With the changes and evolution over time, painting has been transforming with humans. For me, the biggest change in my painting, or the change in seeing, came from computer 3D animation, which I majored in at university. That kind of model is constructed virtually, in software, and at the same time it can be lit virtually, and textures can be added to make it look real. The process of creating an animated video through rendering is really amazing.

One second of video is actually made up of 24 or more still images – it is this that gives us an illusion of reality. Reality itself is always moving and changing, playing continuously like a cartoon, chewing on the meaning of time and space. The concept of continuous pictures can be seen in the construction of my paintings, with traces of lines and joins. Repeated points and lines also appear very often in my early works. The sense of dynamics comes from the repetition and continuity of slight changes. Arising from my research on visual presentation, I focus on the structure and inner psychological condition. Therefore, the colour on the surface seems to be torn apart by me, and painting with the most basic black and white is more realistic and authentic to me. Maybe because I lived in a city at the time, I thought grey was the colour of my surroundings. All feelings were eliminated by rapid flow, what was left to support me to continue was only the lowest spiritual structure.

In 2020, due to the pandemic, I moved back to Taidong, and my body, mind and soul were finally able to be recharged. It felt as if I had found a long-lost tranquillity. The scenery here has always been salvation. They are not big mountains and big rivers, but simplicity and tranquillity. Their saturated colours have diluted the original grey in my heart as time goes by, and the colours finally have a purpose: to be bright! When sun has just risen and shone orange light on the earth, as time goes by, it turns from yellow to white, and the slanted long shadows changed continuously. The appearance of the scenery continues to change over time, as if it is being sculpted, as if every period of time has its own peace. Indeed, the scenery in front of my eyes is composed of tranquillity.

What I paint and construct is not just a picture, but the free light and colour in the space through painting. The overlapping layers of brushstrokes and the splicing and combination of different colour blocks reflect the simple yet meaningful dialogue between the scenery and me, and the mutual balanced order in life. The simplified shape is a peaceful form for me. It is also a stable structure that I perceive from the environment. It is similar to the building blocks I played with when I was a child. I constantly find balance in the stacking. Through constant reassembly, landscape paintings allow me to see the light deep in my heart. The stable structure reflects the desire for existence and also regains the inner order. I think through landscape painting I have found a way of survival, especially in this troubled, anxious and conflict-ridden world, nature always manages to illuminate its original self.

Yellow, like the light of the sun, started my journey with colour. It did not only illuminate the road ahead, but also sowed the seeds and watered them with painting.

Shaw Yan Chen , 2024, August 1



【黃色】陳劭彥創作個展
︱展期︱2024.9.5 thu ─ 10.31 thu
︱開幕暨座談︱ 2024.9.7 sat 14:30
︱開放︱週三至周日
︱時間︱11:00～18:00
︱地點︱717台南市仁德區成功三街102號
︱展介︱https://102art-tw.com/