Checkerboard#1, wood/clock machine/acrylic/ink,49x49x4.8cm,2020
Checkerboard #2, wood/clock machine/acrylic/ink,49x49x4.8cm,2020
我自己近年來一直很感興趣從繪畫性的角度去看影像的可能性。繪畫中的具象或者是抽象究竟是什麼？ Philip Guston曾在他的演講文集中提到，所謂繪畫中的抽象 ，其實是指一種最佳秩序。我覺得他的見解很有意思，而我的理解是，所謂的最佳秩序，並不是思考的結果或精確的測量，而是關於整體性。當事物以某種特別的方式被統合在一起，形成一種內在運作的狀態時，在作品中就形成了一種感覺的整體。
In recent years, I have been very interested in exploring the possibilities of image from a painterly perspective. What exactly is figurative or abstract in painting? Philip Guston once mentioned in his lecture collection that the so-called abstraction in painting actually refers to a kind of ultimate order. I find his insight intriguing, and my understanding is that this so-called ultimate order is not the result of deliberation or precise measurement but is about wholeness. When things are integrated in a particular way to form a state of inner operation, a sense of totality is created within the artwork.
I want to delve into things in life to develop my thoughts in terms of painterly qualities. The images in the artwork are not just images; they are also actual objects with weight and volume. I took segments of the grid lines representing space in "Checkerboard" and installed clock second hands. The chessboard's space becomes visible time. However, these intersecting grid lines, with their dynamic changes, are like lines in a painting to me. The scales of time and the scales of perception come together, much like my everyday perception of time in real life. Time is reintroduced into the grid of space in a new way, but this addition of time also alters the spatiality of the image. I attempt to merge several different experiences within a single image, including the memory of the image, the visuality of space, the gravity and presence of objects. When viewed in a painterly manner, these elements form combinations of different textures, colors, shadows, and fluidity.