▋所在之處

文 / 黃冠鈞

《全光譜－色彩科學如何形塑現代世界》作者：亞當・羅傑斯(Adam Rogers)的觀點寫道：「每個物體表面的所有色相(hue)與色調，都定義了我們的思維方式。這些色彩定義了我們生活的世界，我們希望能打造出來的世界。爭論點不在於是色彩還是形式，色彩就是形式，塑造出我們所處世界的樣貌。」（P.33）

這段文字讓筆者再度想起，對應到了法國藝術家克萊因(Yves Klein)曾說的：「色彩是一種被物質化的感性。」這句簡短並曾改觀啟發我對於繪畫結構上的視點。

色彩單純的利用自身的色相濃淡和顏料本身的物質特性，層層疊加塗繪乾燥後，經過接合與折疊的手法，達成「型」或「體」的基礎架構，透過繪畫本體之間的組合，使色彩和被照映出的色彩在同個時空下相互輝映。

此次展覽標題的「所在」並不是指某個特定的地方或是單一事件，可以分幾個面向。

一、 是筆者某種經驗和體驗，結合了過去、現在，也涵蓋了對未來的某個指向的期許。

二、色彩被繪畫之後，經過折疊成為作品時的所處之處與「再」排列配置後的視覺感受之處。

三、在光線下產生的光影與作品色彩之「後」的色彩之處⋯等。

這一連串的表現，反映了筆者一直以來在「繪畫與其之後」上的思考，在整個從無到有・從液態到固態・從平面到立體・感性兼具著理性的配置過程中，某種感受是只有當色彩與色彩與空間之間彼此流動和變動下，才能被查覺出的。



▋繪畫象限的跨界

引文 / 江衍疇

有關繪畫形式的跨界在解構主義(Deconstructionizm）時期已經完成，作品象限由平面延展至立體，演繹物理性的反轉成果。

具體研究從空間解析出發：量積如何界定(Define)？象限如何堆設(Build)？材質技術如何變造(alter)視覺內容？

最終的創作實踐是：運用物理學的光學效應，結合材料科學的相態變化，形塑色彩與光影、顏料與膜層、圖形與視幅之間的擴增關係。

繼之而來的後工業思潮，再度驅動繪畫象限的異質化。其中「物質化反思」(Materialistic Reflection)的批省觀點，讓繪畫象限的反轉趨勢，逐漸超脫美學論述，探索作品與環境的並置性(Juxtaposition)。

可見的創作策略是：藉由現象學(Phenomenology)的後設性測量，紀錄環境文化符號，勾勒地緣史觀脈相。作品象限由此釋放成多維空間，引喚受眾的情感和想像。

更多作品批判工業文明的失落，回拾身體記憶，刻劃描繪痕跡，乃至洩漏手動誤差，從中揭示心理的渴望，既是潛述也是明言。

繪畫質變的終極可能是：象限不斷改變，和受眾形成共時狀態(Synchronicity)，最後形成文化檢視（Culture View)。至此繪畫跨界的理想，將在創作者的自我審視和時代回應中完成。

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▋Whereabouts

Huang Kuan Chun

Adam Rogers, the author of“FULL SPECTRUM: How the science of Color Made Us Modern,” said that all those hues and shades on every surface define hoe we think. They define the world we live in and the one we hope to build. The fight isn’t between color and form; color is form, giving our universe shape. (P. xxii)

These words reminded me once more of what the French artist, Yves Klein once said, "Color is a materialized sensibility." This short sentence inspired me to change my perspective on the structure of painting.

Using simply the color’s own hue and shade and the material properties of the paint itself, layers of paint are applied and dried; they are joined and folded to achieve the basic structure of "form" or "body." Through the combination of the painting body, the color and the reflected color reflect each other in the same time and space.

The title of this exhibition, "whereabouts," does not refer to a specific place or a single event, but it can be divided into several aspects.

1. It is my encounters and experience, which combine the past and present, and also include a certain expectation for the future’s direction .

2. It’s the visual experience of the works being "re" arranged after the colors are painted and folded.

3. It’s where the colors "underneath" the colors are and the light and shadows produced under the light...etc.
This series of expressions reflects the author's thoughts on "painting and its aftermath." In the entire process of making something from scratch, from liquid to solid, from plane to three-dimensional, and combining sensibility with rationality, there is a certain feeling. It can only be detected when colors and colors and spaces flow and change with each other.


▋Crossover of Painting Quadrant

Preface / Chiang Yen Chou

The crossover of painting forms was completed during the Deconstructionism period. The quadrants of the works were extended from plane to three-dimensional, demonstrating the reversal of physicality.

The specific research starts from spatial analysis: How to define the quantity product? How to build quadrants? How do material technologies alter visual content?

The final practice is to use the optical effects of physics, combine the phase changes of material science, and shape the expanded relationship between colors, light, shadows, pigments and film layers, graphics and visual width.

The subsequent post-industrial trend of thought once again drove the heterogeneity of the painting quadrant. Among them, the critical perspective of "Materialistic Reflection" has allowed the reversal trend of the painting quadrant to gradually transcend aesthetic discussion and explore the juxtaposition between the work and the environment.

The visible strategy is to record environmental cultural symbol and outline the geo-historical context through the meta-measurement of phenomenology. The quadrants of the work are thus released into a multi-dimensional space, arousing the audience's emotions and imagination.

More works criticize the loss of industrial civilization, recall body memories, depict traces, and even reveal manual errors, revealing psychological longings, which are both implicit and explicit.

The ultimate possibility of the qualitative change of painting is: the quadrants continue to change, forming a synchronicity with the audience, and finally forming a cultural view. At this point, the ideal of cross-border painting will be completed through the artist's self-examination and response to the times.