922 柏思繪畫實驗

EXHIBITORS

吳柏嘉 Bo-Jia Wu

意識在當代已被數學和物理學理解成物質性的非定式顯現,當意識被認識為可被計算、測量、甚至預測,人類對自我認識的界限因此由「自我中的不再是我」所「迫出」。用繪畫當下的直覺意識回應創作思想上的越界行動,透過解放創作意圖及語言學及符號學,繪畫的物質性與環境的外在因素之間的相互僭越,形成「已非是我」與「已非他者的我是」兩者互相交換自身,形成界限與越界同時發生的思想動作瞬間;如同超越音速時的音障一般,跟時間相關並跟空間無關,一閃即逝。思想的越界因此除了此時間點之外何處都不在。

Modern mathematics and physics understand consciousness as an atypical matter. When consciousness is seen as something that can be calculated, measured, and even predicted, human boundary of self-awareness is thus “expelled” from “the non-self in self”.

To respond instinctively to the leap in creative idea in the moment of painting, the notions of creative intent, linguistics and symbology are set free. The materiality of painting and all external factors are now in a tug of war, generating a force that allows a boundary and a leap beyond boundary to happen simultaneously while “the non-self” and “the self that is no longer the other” switch place; it is as if bolting through sound barrier while traveling in lighting speed, pertinent to the notion of time and not space. The crossing of boundary in idea ceases to exist anywhere else beyond this moment.

徐廷瑀 Sabrina Ting Yu Hsu

什麼是值得被珍藏的,什麼是有藝術價值的,又什麼能決定你是否成為一位藝術家?要如何設限何謂「藝術」才能夠保留它的神聖性而不被濫竽充數的「贗品」褻瀆?試問,今天放開這些過於簡化的界線,讓自身意識逍遙遊盪並任其牽動著來創作,創作出的難道不是最血淋淋地、這藝術家的核心?即便它有點瘋狂、有點胡亂,卻是最真實的呀。

What is worth collecting? What has artistic value? And what determines whether or not you’re an artist? How does one set the boundary of “art” to retain and not tamper with its sacredness? If we were to surrender this overly simplified boundary and allow our own consciousness to drift and wander, tempting our urge to create, that would be the artist at their most raw, true state. Even if it is a bit cuckoo or random, it is the most genuine.

黃宇瑍 Huang Yu Huan

作品主要以繪畫為主,並保有對雕塑、限地製作等……創作形式的可能性 ; 目前主要藉由大型人造物風景作為繪畫或攝影的對象,試圖在風景畫面中處理猶如變焦鏡般變動的焦段所帶出的:清楚與模糊、撲朔與迷離、現實與真實跳動的視覺感受。讓「輕柔地抹去」這帶有某種詩意哀愁的繪畫狀態作為創作者的心理投射,同時也是回應繪畫本身的問題意識。

While my work consists of primarily paintings, it retains the possibilities of many creative approaches such as sculpture, site-specific art, and more.

My work attempts to bring forth a visual experience that dances between clarity and vagueness using large-scale manmade landscape as the subject. The poetically sorrowful idea of “gently erasing” is an echo of the artist’s state of mind and a response to the notion of painting itself.

圓邊 Out of Circle

「伏睿丘」一字取 「Future」的「女圭人」是個國度唯一的種族共同生活在一個粉紅色的水池度單一性的社群個和性別已無明顯差異。

創作以寓的形式新建構一個國度表現片段性的日常行為表象心理的現代入察的度窺探的幻想畫面充滿了情緒亢的荒謬感以虛構的寓回應創作對未來的擬像。

The Artists reconstruct a nation in the form of allegory, expressing fragmented daily behaviors, the dual embodiment of appearance and psychology, pry into their own fantasy from the perspective of the observer.

The word “Fu Ruei Chiou” comes from the homonym of “future”. “Nyu Guei Ren” is the only race in this place, which is a highly homogeneous community, with no obvious individual and gender. Living together in a pink pool.

The scene is full of high-spirited absurdity, responding to the Artist’s simulacrum of the future with a fictional allegory.

施彣頴 Wen-Ying Shih

施彣頴的創作以版畫為主要媒材,經常以攝影作為起始點,以版畫作為中介,以此探討版印媒體與攝影之間的互動關係。人們觀看照片時永遠存在某種假設—假設存在或曾經存在某件事;感性與記憶藉由版材的觸感、油墨的構成、不可控的偶然,產生未知而有趣的編導,將視覺訊息進行拼貼與重組,讓創作者與觀者進行假設性的交流,重設事物與我們本身的關聯,讓記憶被重新排列組合,再交由觀者閱讀。

The collection of Wen-Ying Shih usually begins with photography and then to delve into the relationship between photography and printmaking media.

There is an assumption when people usually have assumptions about the existence of something, such as sense of perception or memories. That can lead them to something unknown but make them feel interested.

 

The tactile memory of printmaking, the structure of ink, and unforeseen coincidences have restructured visual message. The creators could interact with viewers through a hypothetical interaction, and rebuild connections between viewers and creators.