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Forest Series

Acrylic on canvas

70x100 cm、80x100 cm、100x150 cm、110x160 cm、112x200 cm、130x232 cm、150x200 cm

2019

The process of creating a painting is similar to observing one’s interaction with the surrounding environment, as fragmented life experiences are assembled, combined and extended into something new through the process. The creative subject of my painting in recent years has evolved around my travels, hiking trips into forests and the impact upon seeing the glacier lagoon in Iceland. I have become fascinated with using changing landscape and material forms as a metaphor, such as the capricious weather in the mountains, fog and mist, ancient forests, minuscule plants, glaciers, to reimagine and represent the faded past.

Enveloped by the extremely changeable climate of Iceland, one cannot help feeling a sense of cruelty in its alluring sceneries—small icebergs floating on the lagoon, diamond-like ice from crumpling glaciers scoured down to the beach, tourists busy with taking photos, and rocky and debris soil revealed from retreating glaciers. From the fierce wind to the unending coldness, all the drastic climate changes continue to remind us that surviving on this land means to face the uncontrollable power of nature. However, what one sees here is the consequence caused by humanity’s control of resources and pursuit of desire and power, which have gradually eaten away the nature without us being aware of it.

Each trip to the mountains is a memorable time for catching up with friends, conversing with oneself and being immersed in the forests. Everyone has a different reason to visit the mountains and forests. A simple trip into the mountains allows one to reflect upon the complex humanity, ecosystem and different aspects of history.

The language of painting possesses its independent context and logic. On a thin, flat two-dimensional canvas, one uses brushstrokes, colors and materials, combined with designs of arrangement and juxtaposition, to incorporate the element of ambient light to unfold ways of perceiving the images and a sense of spatiality. The element of ambient light and the variable quality of light have always been factors as important as colors and brushstrokes in my work. The interruptions in viewing – fragmentedness, scintillation, surprise, doubt, concealment, disappearance, re-emergence – are they not precisely the diverse faces of the everyday life in modern time? Each image that I was interested in served as a starting point of my painting. I did not know what it would eventually become. I spent long hours with it during the creative process, constructing a mutual dialogue. In essence, the image has not merely been constructed as a delineation of nature; instead, it represents my thoughts on the self and the social phenomena of “disappearance” and “re-construction” at moments of quietude in this rapidly changing time.

 

繪畫的過程如同觀看自身與環境的互動,碎片般的生命經驗在此刻重組拼湊再延伸。旅行、登山穿梭森林以及今年到冰島看見冰河湖的震撼,構成了近年的繪畫主體。我所感興趣的是透過這些消長的風景與物質型態作為隱喻,例如高山多變的天氣、雲霧、千百年的森林、微觀植物、冰河等,去想像、捕捉消逝中的人事物痕跡。

 

在冰島瞬息萬變的極端氣候中,眼前所見的美麗風景令人感到殘酷。湖上零碎的小冰山,沙灘上因冰河崩解沖刷漂流而下如鑽石般的冰塊,拍照的遊客們,腳底踏著冰河逐年退縮而裸露出的碎石地形,狂風、寒冷、劇烈變化,生存在這所面臨的更多是對於大自然的不可掌控,而眼前所見的景緻卻像是人們掌控資源、慾望、權力後的敗壞,一點一滴在不自覺中漸漸侵蝕著。

 

每一次的高山旅行也是連繫友誼、自我身心對話、與山林生態互動相處的美好時光。每個人因各自不同的理由上山,入森林,單純的高山旅行看見的是複雜的人性、生態、歷史面貌,難以掩飾。

 

繪畫的語言獨立,具有自身脈絡與邏輯,在這淺薄的平面中透過筆觸、色彩、材料性,擺放、併置,與環境光線開展畫面的觀看感受方式與空間感。環境光線與時間變化一直是我作品中相當重要的筆觸色彩,觀看的紛擾,破碎,閃爍,驚喜,遲疑,覆蓋,消逝,再生…,這不正是當下生活所面臨的日常瑣碎。每張我所感興趣的影像做為繪畫起點,我不知道他最終會成為何種確切樣貌,過程中總是長時間與他相處,互相對話。他不僅只是被框架為對自然環境的描述,而是在這瞬息萬變的時代裡靜下來面對自身與「消逝」、「再重組」的社會現象反思。