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Sanchuan State|三川州

Acrylic on canvas、Digital Giclee Output

21x30cm、24x35cm、27x41cm、41x31.5cm

2015-16

What about paintings I absolutely love is that they are accumulated and changed through a period of time. They cannot represent or solve reality. Instead, they become an archive (or images) that can reopen sentimental peepholes to reality for people.

 

In this series, various images of "Ehagaki" ("postcards" in Japanese) published by the government and private companies in Japanese period are used. Except for general landscapes and daily scenes, many paintings by Japanese and Taiwanese artists were also picked to make Ehagaki. In these Ehagaki of paintings, some paintings are well-known in art history; some are not labeled with original artists and some works are never seen before.

 

In this project, if an Ehagaki was made from a painting, I would print it as a form of graphics output. If an Ehagaki was made from a photograph, I would draw a new copy of it on a canvas with colors predetermined by comparing the original color schemes of the Ehagaki with a color chart. The process of this project itself therefore was another course of re-making and re-watching.

 

With my image-processing methods, these files of images scattered and piled in the track of time are put in this space to assemble slices and facets of this island. Via these sightseeing images made by people of the past, I can rediscover meanings of places I live in, tourist attractions and famous sites, while feeling that these places are somewhat familiar to me. With the tides of time, these messages have been changed, vanished, covered, forgotten, ignored and re-clarified. The procedure of picking and processing these images, therefore, is a mutual view and a path of how I recognize these places.

 

 

 

繪畫令我著迷的是過程中時間痕跡的累積、變化與所形成的圖像,它無法再現與解決現實,而是自身成為檔案(圖像)後再重新開啟對現實有感的觀看縫隙。

 

這系列作品挑選日治時期日本政府與民間在台灣發行的明信片圖像,日文稱為「繪葉書」。除了廣泛的代表性風景與這島上的日常風景外,也有不少當時日本藝術家與台灣藝術家所繪製的畫作被製成繪葉書,有些在正規藝術史上有名,有些則沒被特別標記作者或是令人陌生。

 

繪葉書的來源圖像如果是畫,我就以影像輸出的手法處理;來源是攝影,我則使用色票比對圖像的顏色作為上色參考依據,最後以繪畫的方式呈現。繪畫的過程就像是重新復刻與再次觀看。

 

透過取樣,將這些堆疊、散落在時間軌跡中的圖像檔案併置在展場中,拼湊出這座島嶼的片段風景,而經由這些過往人們視角所生產出的旅遊圖像產品再看看現在我所生活的地方、名勝、觀光景點,我會覺得有些地方似曾相似、原來背後有這樣的意義,隨著時代變化、消失、掩蓋、遺忘、無視與再釐清。這些挑選與處理手法是一種交互觀看同時也是我認識這地方的一條路徑。

 

 

[Installation View @ TFAM | 2015]

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