The Scene You See｜風景
Acrylic on wall
240x240 cm x3 pcs Installation
2012
I used software to convert the information and image I found into QR Codes, and then used them as the subject of my paintings. In my past series of works, I adopted manipulation of pictoriality and intervention of external light source so that viewers can continuously search for readable information and misinterpreted information in frames of semi-abstract images. In The Scene series on the other hand, I shifted from using seemingly semi-abstract paintings to geometric abstractions; QR Code can hide the images and contents underneath the surface layer. The work in this series appear to be minimal geometric abstraction, but they are actually two -dimensional barcodes(concrete codes with applications in life).
"What I want to talk about is not the fixed context of abstract painting, or to represent the design of consumption code." Even though I used the homogeneous textural appearance for presentation, but the contents of my paintings are actually stored in another space (the Internet, the digital space). Through the selection of color and light of the material, the contents are presented. Though the colors gradually appear and slowly disappear, the contents are not something that bare eyes can recognize or interpret. The painting process I am conducting here is a series of manipulation. Some images or information make me want to choose them as my subject. I make my decisions intuitively, for the images and information may be interesting to begin with, or make me believe that if I hide them away by converting them into homogeneous codes and someone is able to interpret the contents, then I will feel cheerful for no specific reason.
The images that I created are somewhere between the lines of minimal geometric abstraction and concrete codes, yet they belong to neither. The images possess the materiality of the paints; the colors appear when shone upon by external light source, and the images change as the viewer move. What exactly does this form of Painting try to convey?
The selection and intuition at the beginning were rather intriguing. The "converted" images are no longer babbling and sentimental. I do not want to be stuck in an analog state by saying what the images represent. The experience formed by the materials, colors, light, and digitalization seemingly paralyzes the abilities of visual recognition and interpretation, and transforms into sensation into sensation and stimulation, eventually creating a scene stimulated by senses.
In order to really interpret the facts in front of our eyes, we must still rely on the different mediums. It also depends on each person's willingness to really examine what we are "looking at" after all. Why not just abandon this obsessive compulsive disorder of using our eyes to analyze everything, which has already become a habit, for we must rely on multiple mediums in order to discover secrets, as layers of color and light flash rapidly like thin films.
我將找尋到的訊息、圖片透過軟體轉碼成二維條碼QR CODE再把它當作繪畫對象畫出來。有別於過去系列作品繪畫性的操作與外部光源照射介入使觀者不斷在一格一格的半抽象畫面收尋可讀或誤讀的訊息，從看似半抽象繪畫狀態到「QR CODE」這組作品所給出全然的幾何抽象畫面，在當今的數位時空QR CODE能將影像、內容隱匿到表層背後，這組作品表面上雖然看似低限幾何的抽象繪畫狀態但其實是個二維條碼(具體的生活應用符碼)。
「我想談的並不是抽象繪畫固定脈絡更不是再現消費性符碼造形」，而是我以繪畫材質性的均質樣貌呈現但所畫的內容確確實實存放在另一個空間當中-(網路、數位)，選擇繪畫的色光材料性狀態呈現在眼前慢慢顯色又慢慢變淡消失卻是肉眼無法辨識解析的內容，我所處理的繪畫狀態是一連串操作程序的手法，一些影像或訊息內容觸使我想要挑選它，可能有一些梗也可能是將它轉碼均值化藏起來，如果有人真的把它解出來了卻發現是一陣莫名其妙的這種快感...等等直覺讓我挑選它。
處理出來的畫面界於低限、幾何抽象跟具體符碼之間，但它其實都不屬於兩者。具有顏料材料性、外部光源照射顯色、觀看者移動狀態而有所變化，這樣的繪畫狀態所承載的是什麼?當我們想畫一個造型圖象、想抒發感受轉化在畫面上或是對於繪畫史脈絡的思考辯證，有太多東西想要(可以)放在畫面上了，我在想有沒有一種方式像是媒介轉換或藝術家身體轉碼的方式將思維與感性溫度打散在一個均質表面。
一開始出發的挑選、直覺點還蠻迷人的，「轉」出來的畫面不再喋喋不休、情緒抒發的黏膩，我不希望是一種類比狀態說這畫面是什麼，物質材料、色、光、數位的經驗、操作過程，似乎是一種癱瘓視覺解析辨識度的能力而轉換成感受‧刺激，一個感官刺激意義的風景。
真的要解讀眼前所見的事實卻還是需要仰賴各個媒介才得以略知一二，而我們究竟在「看什麼」對於解析這件事來說其實也是看個人意願，那麼何不放棄這種已經變成習慣的眼睛觀看解析強迫症呢，畢竟秘密總是需要多重媒介的幫忙才能一窺究竟，一層層色光、薄膜般快速閃耀。
這次的展覽是我對繪畫形式、觀念的探索以及自身對於外部環境感受的一些回應與想像。對於當代的視覺態度與繪畫美學彼此間的反映是這系列作品關注的議題對象。