2009美術創作卓越獎獲獎名單-周代焌 作品自述

在我的創作繪畫中，我把所挪用的圖像當作物件，而物件經由我重組過後成為一起事件。從一個遠距離的視點觀看，物體個別的細節會被忽略，而在觀看的距離拉近時，瞳孔因為凝視而表面細節被放大的同時，其他地方也因為景深的關係形成一個模糊的狀態。

在處裡影像的問題我把我的畫布當作一個薄幕，影像的粒子隨著時間作一個快速的流動，像是雜訊般的訊號連續不斷的出現，這層薄幕像是分隔一個真實和虛擬的介面，我想把一個影像中的光點轉為成可觸摸的材質，然而在處理畫面的空間狀態上，一個像是有景深的空間又打破看似在處理影像空間上的問題。

我在面對一個虛擬世界，某個意義下我想讓時間停住，像是<關鍵報告>裡那樣選取影像的動作，將影像擷取、放大、解析、編輯，感受到資訊進步是如此快速，對於那樣的速度感到不安，所以在我的繪畫中出現像是停格的狀態。
在身體的操作下意識到平塗即使再平最終也不會大於電腦影像輸出，而在物體描繪的寫實感也不會大於照片的真實感，所以轉而強調手繪的真實性和人為刻意操弄下的距離，對於科技帶來的便利性和快速性，在我的創作中某一程度顯現了對科技的反動，但是科技的操作漸漸的讓身體的感知退化，目前科技可以做到 one touch 就能辦到生活的一切事情，而在以後甚至只需要動腦感應就可以達到很多勞動所不及的事情，如此身體的原始性逐步降低所帶來的危機感正是我自身所處的一個拉扯狀態，強調身體所操作出來的痕跡。因此，我的創作極度重視身體所操作出來的痕跡，且試圖把圖像解構為極度理性化的繪畫，強調人為操作的身體感。



In my painting, I take all the images I use on canvas as objects, and those objects are composed as an episode by my work. Regarding them in a further view, the details of the individual object would be ignored. On the other hand, when being focus on specific area closely, viewers’ eyes pupils getting wilder. The other parts on the canvas affected by the depth of field become vague optically.

I treat my canvas as a screen when dealing with those images in my painting. The pixels of images keep sparkling time after time like the white noise on the screen, and the screen is such an interface to separate from the real and the virtual. In my painting, I want to transform every pixel in the image into a touchable material. Nevertheless, the visual space of my painting is not just focus on the depth of field, but also more than just constructing the visual space.

I’ve faced a virtual world, and somehow I want to stop the moment, just like those happened in the movie “Minority Report,” image deriving, zooming in, clarifying, and then editing the images. Realizing that information progress so fast makes me anxious, so I make the images in my painting as being paused.
Operationally, it’s never been flatter than printer, no mater how flat I brush, and it’s never been more photographic than photography, no matter how hard I draw. As a result, I tend to emphasize the hand-drawing characteristic and the contrived distinctness. Technology brings us convenience and rapidity, but my work shows some reaction against it. So far, the Technology could make one touch to complete all the things, and maybe in the future it could have made everything unlabored by just thinking. However, Technological operation makes physical perceptions getting degenerated, and the crisis of primordially physical degeneration is the fierce dilemma for me. Thus, I pay much attention to physical operation on my work, and try to deconstruct the images into extremely rational painting to emphasize the optional.