歡迎光臨，慾望邊界
微型驚悚劇場
關於黑普普藝術／吳衍震個展

從黑暗美學延伸至現實世界，與「正常」社會迴異的文本，吳衍震運用作品試圖解釋世界，用感官與視覺語言轉變為是非經驗文本。殘酷結合卡漫、血腥結合甜蜜、暴力結合幽默、動態結合靜態，塑造出屬於他個人的黑普普美學，是悲劇之美、恐懼之美，也是一種挑戰人心之美。

宛如觀看一齣驚悚劇場，舞台上不斷演出令人感到不舒服與緊張的詭異社會微型劇，觀眾從不舒適的感官中獲得空虛心靈的補償與快感、從試圖破壞完美的邪念裡獲得渴望缺陷與「使壞」的認同。吳衍震將內心長期積聚的黑暗能量及對變形的沉迷反射於作品當中，試圖藉由「慾望」、「犯罪」與觀者取得一種「非法」的共鳴。將光鮮亮麗和陰暗憂傷並列，模糊兩者的區別，挑戰觀者對世界的成見以及毀壞身處「安穩」的狀態。

吳衍震的創作源自日常生活的拼湊，對社會議題的觀察，田野調查的實踐、影像的強力填鴨、陰暗面的關注等等……。你總是可以從作品中窺見鮮豔色彩背後暗藏的陰影，而從畫中看似純真無邪的形象，則時常透露狂野與幻異，幽微地勾引著觀者內心深處的慾望與無限想像。

It is always been interesting in issues of life and death. The imaginations distinct that exist on either side of the magnetic field between life and death feed. Because of this, the objects connected with terror and death, from animal skulls to all kinds of puppets, masks and other similar things. Horror novels, mangas and horror films have also naturally become part of elements of artworks; they are the objects of artist research and the inspiration for creativity.

In essence, the history of horror films is the history of twentieth-century anxieties. Fairy tales, folk legends, and the gothic nature of romanticism all stress the worries of the old world. But it is horror movies that paint the picture of fear in the new world, using basic theories of determinism in industry, technology and economy to describe the "borders" of the new world. Thus, horror movies, more than any other film genre, are able to question the realities of this world and respond to cruelty and detachment found in society, becoming an important discourse for psychoanalysis.

The real-world definitions of "evil" and "crime" that have been becoming less and less clear and the challenges to current cultural value systems have redefined horror texts. In the not-so-distant future these changes will manifest into a concept of evil within forms of film and literature. It has been constantly passing back and forth between images of terror, the "borders" of evil texts and "the real world". This passing back and forth strikes at the borders of inner darkness occur artist imaginations.

Thinking of gained further clarity about the relationship to the world through artist interactions with texts that deal with differences with the normal world: dark aesthetics, abnormal psychology, evil, horror, sychoanalysis. Pieces correspond to worlds that do not follow the rules of experience, to chaotic spaces that are difficult to define, and to heterogeneous spaces outside the realm of everyday life. They correspond to the small cracks in the intersections between humans, gods, and supernatural spirits. Perhaps what artist concerned with is that fantasy "border" which the average person refuses to face, that which the average person pretends not to see.