Forest Series

Acrylic on canvas

112x200cm、72.5x100cm、72.5x116.5cm、33x50cm

2015-16

Most of the paintings in this collection were made from the photographs taken in my journeys. Reviewing these images is just like a short imaginary experience of logging out from the reality.

 

Starting from white canvas, I finished these paintings from beginning to end. Then all the areas of highlighted colors were whited out to form new images. Those processes were paths I could freely roam through.

 

I tried to present the time I spent from choosing photographs to getting familiar with those images in these works. Pearlescent pigments are translucent and tend to have sepia tones, and make paintings look like old photographs, with their marks of time. I want to use this kind of modern pigments to interpret the time of these images and their painting processes. Eventually, it portrayed not only old, sepia tones that mimic marks of time, but also the temporal memories of strokes and colors when making and watching these paintings. In such a way, slices of time were rendered in these big-size images. When their viewers move and immerse themselves in these strokes and colors, they are actually re-organizing these images with those shattered, removed, scattered elements.

 

To me, the process of making these paintings is my memories and imaginations of images. I re-made images via painting, and placed them in this space. Via the interaction of these images, a vague and ambiguous narrative with the temporal memory of viewers is thus produced.

 

 

這系列風景圖大多來自我出外踏青或旅行所拍攝的照片,重新再回頭來看這些圖像就像是從現實生活中暫時登出的想像以及體驗。

 

從無到有的繪畫過程以及顯色反白後的抹除,再次成為新的圖像。而我遊走穿梭於其中。

 

從挑選照片到與畫面相處,我將時間過程展現在畫面上。珠光顏料半透明又有點泛黃的特性像是老照片的時間痕跡,然而我對他的想像是以這屬於當代的材料來詮釋繪畫過程與圖像的時間性,他牽引著兩者,不僅是再現老舊泛黃的時間感痕跡,而是他所造成的效果讓觀看繪畫與做畫過程中,筆觸顏料等因素的時間性被強化出來。時差,展現在大尺寸的畫面中。觀者身體移動,隨著筆觸色塊悠遊其中,破碎的、抹除的、散落、隨著筆觸色塊組織圖像。

 

對我來說這系列繪畫的過程是對影像的回憶與想像,進而透過繪畫性去再次製造圖像,製造完畢後在空間中將其裝置展示,然後彼此產生模糊曖昧的敘事性以及觀看的時間性。

森林2 | Forest 2.

壓克力顏料、畫布_72.5x116.5cm_2015 _ _Acrylic on canvas