邊境
2007年10月，右眼因視網膜破洞，接受雷射手術。手術後出現一些症狀如右眼瞳孔收縮較慢，出現眼痛、視力模糊、畏光、複影、空間的深淺遠近判斷變差等。
接下來的半年，隨著症狀的時好時壞，我開始逃避「清晰」這件事情—越想要看清楚，「模糊」的邊界就愈分明。
這一系列的作品，我於夜晚拍攝城市中的大面積空地，如河濱公園的足球場、操場、正在施工的工地等邊緣性的場域。經由修像的方式，製造了一個更陌生的風景--它並不是忠實顯現我所見，而是將身體感(殘缺)轉化到影像上，機器為身體負載。於是，幽澀微光中，均質靜默的地景，是走不進的身體。
「Outland」之意為邊境。它與border和frontier不同是，「out」的位置性更明顯—有中心裡外的對應。但觀者無法從影像中尋找座標位置，主體(攝影機、觀者)是無從凝視的狀態，它欲抹去畫面的焦點，但失焦也是一種聚焦，看似有機的場域，被處理描繪為CG(computer graphic)均質質感。這種拉扯的狀態，對應了我對影像創作的另一種逃離，及對某些當代資訊風景的無聲對抗。
明信片
「景觀」系統下的城市地景，最明顯的莫於房地產企業所有人打的異地風格。其文字和圖像的異植、堆砌、示意和類比，已非其原指，不再釋意--它成為一種情調，並帶點偏離的色彩，異地的況味。
這些廣告不只回應居住上的消費文化，它們也顯現我們對城市的最終想像，是建構在符號式的場景上。這符號系統與此時此地、及其中生活的人群切割脫離。它經由拼貼自成輪廓，彼此間又可互相替換；它製造了在場證明，但其「現場」還未發生，以後也不會發生。我們閱讀那些美麗高雅，散掛在城市的建築體上的名詞和形容詞，卻無法確切指認那是位於城市的哪一個角落。也如那些舉牌員上的人名，它與人、地，甚至和「居住」本身，是完全脫離的。
這件作品是我對城市觀察的呈現—城市經驗將會走向符號的閱讀及累積。經由精於複製、擬態及移植的媒介產生的事件、圖像，因消費系統而無限繁衍，成為模糊曖昧的城市場域。在城市中將會有更多這種場域的出現。
失真
「在現場留下記號，之後重現這記號，並不斷附加」
【Distortion】這件聲像裝置是在約10坪正方密閉空間中呈現。牆壁上有三張A4白紙，房間中央架設投影機與喇叭。影像為之前於同一位置拍攝三張白紙飄動，剪接調變速度後，再投影至現場原三張白紙上。原本在現場的被攝物，附加上一層他自己的影像，產生動態與靜態之間連續性的變異。在聲音與影像重複複製拷貝後，產生異於原始影像的訊號-部分是刻意製造的數位雜訊，另一部分是類比訊號的遞減。
這件作品最初的概念是討論影像在其成像介面上的可能。影像重複拍攝再投射，類似Feedback形式，跳出二度空間的呈像方式--紙張不再只是投影屏幕，也是「影像」載體--雕塑擴延了它原來的本體。
【Outland】
Digital Print / 130*87cm / 2008
October 2007 I had a surgery on my right eye due to retinal damages. Ever since the surgery I started having symptoms such as slower pupil reactions, discomforts around the eyes, blurred and doubled visions, sensitive to lights, worsen judgements on space and distance etc. In the following six months, with these symptoms continued to be unstable, I started to avoid clarity, the more I desire to see better the more obvious it becomes where the boundary to blurriness is drawn.
This series of work was taken at night in rural places in the city such as huge wastelands, football stadium by the park, racing tracks and under-constructed building sites. By making further adjustments and changes to the images, an even more unfamiliar scenery was created, it did not objectively and truthfully represent what I have seen and instead, my body senses (physical disabilities) were transformed on to these images, as if the machine was possessed by my body. In the softened beam of light, this silent and settled land is the body that cannot be entered.
What differentiates outland from border and frontier is that the location is pointed out more obviously with the word out, corresponding a relative relationship between the exterior and the interior of a central point. But the spectators cannot locate the coordinates in these images, the subject (camera, viewers) is in a position of being unable to see, it intends to wipe off the focus point in the image, however losing can also be perceived as concentrating on a focal point, a site that appears to be organic is now processed and made to be looked like and described as having computer graphic qualities. This contradictory situation is a reflection of a silent protest against particular contemporary circumstances and another way of escaping from my photographic works.
【Postcard】
Video installation & Digital Graphic / 2007-2008
In the landscape of Taipei City, enveloped in this system of “spectacle,” nothing is more prominently visible than the “exotic residences” touted by the real estate industry. Their words and images are transplanted, superimposed, and referenced with suggestion and analogy, until they no longer signify their original meaning, and indeed express no meaning at all, but merely convey a certain mood, and transmit a residual sense of color, the scent of exotic lands. These advertisements not only echo the consumer culture of housing, but also manifest our imaginings regarding cities. They are built on a symbolic landscape, one that has been severed from this time and place, and has no necessary connection to it. These symbols are pieced together to form a vague outline, and are mutually interchangeable. Thus, they have transplanted exotic lands “locally,” but are incapable of signifying identification with “this place.” It may be a city that by sheer coincidence has the same name.
Real estate advertisements make use of replication, mimicry and transplantation of media-generated events and pictures, endlessly multiplying due to the system of consumption, resulting in a blurred, ambiguous city landscape, and expressing a “flattening” of the city’s image. After every cross-section has been rendered two-dimensional and enlarged, the discrepancy with reality becomes greater and greater. The people who work and live among these images constantly experience and corporealize the process of replication and amalgamation in the “society of the spectacle.”
【Distortion】
Audio-Visual installation / 2007
The Soundart from Chung-Han ,YAO
The A4 papers have been at the same position all the time. I blow them and recorded. And then, at the same place, I project the image I recorded before.I re-created “readymade” by shooting and projecting it again, like “image-sculpture”. When papers blowing, you can’t recognize real and virtual.
2009年1月24日 星期六
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.
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.
2009美術創作卓越獎獲獎名單-許尹齡 作品自述
我的創作意念主要是在於表達對社會現象的觀察，社會現象是具體可觀看的，但能真正透析的結論卻被各種體制所牽動以至於混濁。過好生活的想像在一點一點的崩解，我們就像一直處於一個被實驗狀態，一直不斷地有許多數據在更新〈經濟成長率、失業率、就業率等等…〉或是說這些數據很具體地描述出我們的生存狀況，所以我在創作的同時的確也有帶著一點點瘋狂的意味，我在想像著我創造了一個莊園，裡面圈養了各式告樣的人類，他們都在被試驗著怎樣才會過的更好，而這只是其中的一部份失敗的實驗品，但他們必須被展示，因為那個世界，是與向來對我們所顯現的世界所不一樣的世界，透過影像再造，我們如願擁有機會從自身這唯一的世界中抽離並且直接處理這些普遍性的困境。
我的挑戰是去陳述許多事情在一件事情當中，所以我作品的呈現方式多半都是採用拼湊的，它們(作品)同樣的目標任務就是它們在同一個被抽離出時間的空間中進行著，它們就好像是一個經過排練的事件演出場景，試圖捉住人們的注意力，它同時是劇場演出也是真實生活，它們所希望達到的效果是得以干擾他人，對我而言作品在許多層次上運作著真實的理由來說服觀看者去相信那個不合常理的狀態，很純粹的就是去發覺我們從沒想過和挖掘過的自身殘缺。我們的生活給我們的訊息就是這樣，正常的生活下去，但其實從來沒去正視過自己的人才是真正的缺乏。令人焦慮的題材跟平靜的實事求是，我想一併呈現在同一個畫面中，作品中一大部份神秘，在於它們暗示了畫中所遇到的困境。觀者會懷疑，他們所看到的社會現象是這樣的嗎？他們知道這個世界有多古怪嗎？將這樣的一個塊面回歸到先前所述，我們所認知所看到的自身也是如我們看到的那樣嗎？
My concept of creation is about expressing the observation of social society. Social society’s phenomenon is concrete and observable. However, the substantial analyzed conclusion is obscured by all kind of systems. The imagination of living a good life is gradually collapsing. It is as if we were constantly placed in an experiment with numerous updates of statistical data such as, economical growth rate, unemployment rate, employment rate, etc. We can say these data describe our living circumstances specifically. Therefore, while I am creating, I retain a hint of insanity. I imagine I have created an imaginative world, raising all kinds of human beings to be tested for a better way of living. These are just part of a failed experiment but they must be displayed because that world differs from the usual world we know of. My recent creation style is similar to this, containing a theatrical world or in other words, Through images, we have been given a chance to step away from reality, and into that world to directly deal with common obstacles.
My challenge is to present various events into one. Consequently, most of my paintings are presented by piecing, their objective is the same, which is to progress in a space that is out of time. They are just like an arranged scene trying to capture people’s attention. It is both a theatrical play and a real life at the same time, and their main goal is to disturb others. In my opinion, my creations operate at many levels with true reasons to convince viewers to believe the irrational status, simply to discover the self incompletion which we have never thought of. This is the kind of message our life gives us. We live normally but we never try to face the true deficiency of ourselves. The anxious subject and peaceful reality is what I want to display on the same picture. Moreover, a large part of mystery in creations is due to the implication for the obstacles encountered in the creations. Viewers will suspect if the social phenomenon is really what they see. Do they know how odd the world is? Referring back to the last statement, we can really ponder if we really are how we have perceived ourselves.
我的挑戰是去陳述許多事情在一件事情當中，所以我作品的呈現方式多半都是採用拼湊的，它們(作品)同樣的目標任務就是它們在同一個被抽離出時間的空間中進行著，它們就好像是一個經過排練的事件演出場景，試圖捉住人們的注意力，它同時是劇場演出也是真實生活，它們所希望達到的效果是得以干擾他人，對我而言作品在許多層次上運作著真實的理由來說服觀看者去相信那個不合常理的狀態，很純粹的就是去發覺我們從沒想過和挖掘過的自身殘缺。我們的生活給我們的訊息就是這樣，正常的生活下去，但其實從來沒去正視過自己的人才是真正的缺乏。令人焦慮的題材跟平靜的實事求是，我想一併呈現在同一個畫面中，作品中一大部份神秘，在於它們暗示了畫中所遇到的困境。觀者會懷疑，他們所看到的社會現象是這樣的嗎？他們知道這個世界有多古怪嗎？將這樣的一個塊面回歸到先前所述，我們所認知所看到的自身也是如我們看到的那樣嗎？
My concept of creation is about expressing the observation of social society. Social society’s phenomenon is concrete and observable. However, the substantial analyzed conclusion is obscured by all kind of systems. The imagination of living a good life is gradually collapsing. It is as if we were constantly placed in an experiment with numerous updates of statistical data such as, economical growth rate, unemployment rate, employment rate, etc. We can say these data describe our living circumstances specifically. Therefore, while I am creating, I retain a hint of insanity. I imagine I have created an imaginative world, raising all kinds of human beings to be tested for a better way of living. These are just part of a failed experiment but they must be displayed because that world differs from the usual world we know of. My recent creation style is similar to this, containing a theatrical world or in other words, Through images, we have been given a chance to step away from reality, and into that world to directly deal with common obstacles.
My challenge is to present various events into one. Consequently, most of my paintings are presented by piecing, their objective is the same, which is to progress in a space that is out of time. They are just like an arranged scene trying to capture people’s attention. It is both a theatrical play and a real life at the same time, and their main goal is to disturb others. In my opinion, my creations operate at many levels with true reasons to convince viewers to believe the irrational status, simply to discover the self incompletion which we have never thought of. This is the kind of message our life gives us. We live normally but we never try to face the true deficiency of ourselves. The anxious subject and peaceful reality is what I want to display on the same picture. Moreover, a large part of mystery in creations is due to the implication for the obstacles encountered in the creations. Viewers will suspect if the social phenomenon is really what they see. Do they know how odd the world is? Referring back to the last statement, we can really ponder if we really are how we have perceived ourselves.
2009美術創作卓越獎獲獎名單-廖祈羽 作品自述
「搖阿搖」的畫面構想來自於偶然看到的一本東洋情色寫真，那是一組畫面風格有點過曝和朦朧的系列照片。照片中的女子都衣著暴露，卻又刻意營造少女氣息。有些女子似笑非笑地瞇起了眼，她們各自都舔著手中的一支甜筒或是冰棒，彷彿更添了畫面中的清涼。觀看者與被觀看者之間所扮演的角色明確，在彼此關係的建立中，反映的是某種成人女性身體在社會意識下的狀態。
成人的慾望在身體的行為中被突顯。此時此刻，身體在文化及社會模式下，似乎無法擺脫被詮釋的既定角色。藉由手中的甜筒、擺盪的身體、一個特定角度的取景，企圖創造一種畫面上與觀者心理的衝突：一個兒時記憶中平常的舉止，卻充滿著強烈慾望的意味。
倒立時，你看我彷彿更美好—略帶挑釁的假設語氣，引述觀看與被觀看者之間的對應關係。女性身體在這件作品中，以什麼樣的方式與姿態呈現，似乎有些曖昧不明，而倒立的行為像是想證明些什麼。
看似柔弱卻強而有力的支撐起自我，同時也不曾放棄選擇如何被觀看的權力。在這種順應的觀看機制中，女性清晰地感受到自身的狀態，也應證了與對象之間的關係。我試圖透過女性身體所呈現的多重面貌，表達堅韌的生命特質，同時闡述一種凝視的過程及心理狀態。
「幸福結局」身處於完全未修飾，甚至顯得凌亂的日常生活場景，畫面中的「她」保持著一種姿態，總是微笑著，彷彿這是幸福結局的一刻。在這件作品中，我預設一個美好的人妻形象，將她可能與真實生活相關的意識抽離，卻放置在一個極為日常的家庭場景。
家庭的形象，彷彿愛情故事中幸福結局的下一幕，透過窗景般的鏡頭，所謂幸福結局框架中的女性，在這裡是一種想像，也是慾望的可能。我的身體形象始終置身於作品中，除了其各自表述的觀點外，我試圖透過自身的生活經驗，以及身體細微的感受，在創作的脈絡之中，不僅僅呈現男性凝視觀點下的女性，更渴望尋找向來被忽略的女性凝視觀點。
成人的慾望在身體的行為中被突顯。此時此刻，身體在文化及社會模式下，似乎無法擺脫被詮釋的既定角色。藉由手中的甜筒、擺盪的身體、一個特定角度的取景，企圖創造一種畫面上與觀者心理的衝突：一個兒時記憶中平常的舉止，卻充滿著強烈慾望的意味。
倒立時，你看我彷彿更美好—略帶挑釁的假設語氣，引述觀看與被觀看者之間的對應關係。女性身體在這件作品中，以什麼樣的方式與姿態呈現，似乎有些曖昧不明，而倒立的行為像是想證明些什麼。
看似柔弱卻強而有力的支撐起自我，同時也不曾放棄選擇如何被觀看的權力。在這種順應的觀看機制中，女性清晰地感受到自身的狀態，也應證了與對象之間的關係。我試圖透過女性身體所呈現的多重面貌，表達堅韌的生命特質，同時闡述一種凝視的過程及心理狀態。
「幸福結局」身處於完全未修飾，甚至顯得凌亂的日常生活場景，畫面中的「她」保持著一種姿態，總是微笑著，彷彿這是幸福結局的一刻。在這件作品中，我預設一個美好的人妻形象，將她可能與真實生活相關的意識抽離，卻放置在一個極為日常的家庭場景。
家庭的形象，彷彿愛情故事中幸福結局的下一幕，透過窗景般的鏡頭，所謂幸福結局框架中的女性，在這裡是一種想像，也是慾望的可能。我的身體形象始終置身於作品中，除了其各自表述的觀點外，我試圖透過自身的生活經驗，以及身體細微的感受，在創作的脈絡之中，不僅僅呈現男性凝視觀點下的女性，更渴望尋找向來被忽略的女性凝視觀點。
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意見 (Atom)
