The Scenery of Explosion

有爆炸的風景

2008

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

2008年的平面繪畫作品中,總是企圖在畫面中堆疊各種可以產生心理距離的元素,讓觀者在凝視畫面之後心理產生一種被懸置的感覺。《有爆炸的風景系列》,以心理的距離為主調,營造讓觀者感到懸置感受的畫面。

 

所謂風景畫(landscapes painting),大致是表現地表景觀的繪畫作品,在此類繪畫中,人物通常為次要無個性的旁觀者,風景成為主要描繪的對象,畫面中說話的主角。在這裡,風景畫作為筆者的著力點,主要是想製造一種疏離(Alienation) 以拉開作品畫面在觀者心中的距離。首先,畫面中那些遠景的視點,讓地平線在畫面的最下方,天空佔去畫面的主要比例,這樣的構圖,暗示著畫者和這片風景之間存在一段遠距離,也暗示著我們觀者所看到的畫面,是畫者當時寫生風景的視野,畫布的方型形狀和畫布上對風景的描繪,讓這幅風景畫也成為是一個窗戶,觀者透過這窗戶看到窗外的風景,也暗示著觀眾和畫中風景的距離。

 

在《有爆炸的風景-H地》和《有爆炸的風景-T地》中,分別以四幅連作和三連作為呈現,其中所描繪的,是在一片平滑山丘的地表景觀上,天空有色彩甜美、造型圓弧的爆炸圖案,而除了爆炸,還有因為爆炸而飛散空中的碎片物。這些碎片物,有英國BBC電視台節目《天線寶寶 》中的人物,丁丁 ,它因為被爆破而炸飛的天線,頭部和前臂分別飛散在畫面各處。在該系列其他幅畫作中,天空一樣出現爆炸的雲塊,並且在空中散落有米老鼠 頭部和超人 的紅色披風和內褲,小叮噹 的手,米其林公仔 的身體…等。而在其中一張,中央只有一個人物,在整系列都描繪風景的畫作裡特別突出,這位人物,穿著各種卡通人物肢體在身上,似乎在此系列中的工作就是去撿拾因為爆炸而散落各地的卡通人物殘肢,然後拼湊在自己身上。

 

2008年創作的《有爆炸的風景》平面繪畫作品中,以帶有心理特質的色彩描繪風景畫,讓風景畫中的空間感處於一種雖有但維繫微弱的狀態,藉此切入營造觀眾和作品畫面之間的心理距離,而在接下來的平面繪畫《爆炸之後》中,筆者單純化背景,突顯畫面中不明事件的不明時空感,並且將原本存有的符碼重新拆解組合在畫面中,以此作為干擾觀眾閱讀畫面時的雜訊,進而營造心理距離。

在這系列平面繪畫所使用的元素裡,靜止的時間感,是筆者一直保有的重要元素。靜態影像吸引觀者長時間凝視的因素有很多種,而其中最吸引筆者長時間凝視的,就是那些暗示著時間靜止的影像。筆者所謂暗示著時間靜止的影像,最常見的應該是在報紙中體育新聞版面,出手瞬間的投手,成功跨欄的田徑選手,擊球瞬間的網球選手…等,也就是明顯可看出影像中物件原本正在移動的照片影像,這些被照相機以快門速度1/250秒(或更快速度)拍攝下來的瞬間動作,在被凝結成一張照片的同時,似乎也凝結了某種張力在裡頭。

 

筆者認為這類的靜止影像,所散發給觀眾的訊息,都帶有一種”線索”的特質,因為觀眾只能根據靜止影像中的物件,來推測被靜止當時的狀況,譬如:出手瞬間的投手,究竟投出的是什麼球種?成功跨欄的選手是否也成功跨越下一個?擊球瞬間的網球選手,是否讓這顆球落在有效得分位置?因此也就是說,靜止的時空感,彷彿壓縮集結了各種後續可能性在靜止的畫面裡,形成一種解讀時散發給觀眾的張力。

My painting in 2008 was aimed for accumulating elements that create intangible distance for audience, letting audience to detachment from the present moment through the act of gazing. The series of The Scenery of Explosion build up a scene of detachment in front of audience with intangible distance as the main objective.

 

Landscape painting, generally speaking, is the painting of landscape scenery. Among landscape painting, humans are secondary uncharacteristic bystanders and landscape is the major subject or the leading role that speaks. The landscape painting being employed by the author was because of alienation created in it which helped to widen the distance between work images and audience. First, the perspectives in the long shot made the horizon in the bottom stand out and had sky filled the main portion of the image. The composition indicated the distance between audience and the scenery, and the fact that audience was watching what the artist has seen and interpreted into painting. The square-shaped canvas corresponding with the composition of the painting also created distance before audience.

 

       In the quadtych Scenery of Explosion- H and Triptych Scenery of Explosion- T , the story told was on the landscape of smooth hills were explosion patterns of sweet colors and shape of arch. Besides explosions, there were fragments spread on air along with explosion such as Tinky Winky in Teletubbies of BBC whose head and forearms dispersed in somewhere in the entire image. In other works of the series, there were clouds of explosions on the sky as well and a head of Mickey Mouse, red cloak and underpants of Superman, hands of Doraemon, body of Michelin doll and so on. In the other work where only one man stood in the center seemed to be assigned the job that could be picking up the limbs from cartoonists and piecing them together by wearing them. The psychological feature of weak recognition on spatial existence could be found in the series of The

Scenery of Explosion finished in 2008, to touch and figure the intangible distance between audience and the work image. Followed by the painting After, the author simplified the background, magnifying the uncertain spatial cognition of the unknown incidents to tearing original codes apart and combing them through a different way. It served as the noise in mind to intervene audience while looking at works to build up the intangible distance.

 

       Among the elements selected to apply in this series, time that stands still was the significant one. There were many reasons that still images are attractive to audience, and what attracted the author to gaze the image was the situation indicating time staying. Here the author meant to describe the situation like the moment when the pitcher throwing a ball, the athlete crossing hurdles, or the tennis player hitting a ball these common scene in sport news section of newspaper. In such moments, it is easy to recognize the object was during the process of moving in the pictures taken by 1/250 sec of shutter speed or less. The instant actions frozen in pictures also brought in unspeakable force. The author assumed this kind of still images could convey messages as “clues” to speculate the real happenings because it was what audience relied on during appreciation. For example, during speculation, the audience might think of what kind of ball the pitcher just threw, whether the athlete could successfully crossing the next hurdle, or whether the tennis player who was hitting the ball could send the ball to the scoring area. Therefore, the halted perception of time might have compressed the follow-up possibilities in the still image, creating a special tension for audience.

 

有爆炸的風景H地1

The Scenery of Explosion- H1

 

acrylic on canvas

116.5x182cm

2008

 

 

有爆炸的風景H地2

The Scenery of Explosion- H2

 

acrylic on canvas

116.5x91cm

2008

 

 

有爆炸的風景H地3

The Scenery of Explosion- H3

 

acrylic on canvas

116.5x91cm

2008

 

 

有爆炸的風景H地4

The Scenery of Explosion- H4

 

acrylic on canvas

116.5x91cm

2008

 

 

有爆炸的風景T地1

The Scenery of Explosion- T1

 

acrylic on canvas

162x130cm

2008

 

 

有爆炸的風景T地2

The Scenery of Explosion- T2

 

acrylic on canvas

162x130cm

2008

 

 

有爆炸的風景T地3

The Scenery of Explosion- T3

 

acrylic on canvas

162x130cm

2008

 

 

Designed by Compound Art Studio