最初的愉悅（1）

Pleasure from the Beginning (1)

發表：台北縣板橋市；擋哈鵝（板橋）
展覽：最初的愉悅
材料：集成角材、板材、水泥漆、沙
年代：2006.5

Venue: Dunhare (Bangciao), Bangciao City, Taipei Province

Exhibition: Pleasure from the Beginning

Materials: Angular alloy fixtures, wood planks, cement paint, sand

Time: 2006.5

規格化的支撐物

經過刻意的營造，圓管有著低限的外型；外部漆白、有厚度的、規格化、內部吐露木材質地。
期待低限外型所能引領的，是一種實用目的的建設，猶如工程的零件，並且是至關重要的零件，而其自身的單獨存在又不具意義，它必須攀附一起事件，甚至是生活的整體。

圓管造型有一個參照，它以工業用途的水泥管為文本，生活的模型，並賦予其藝術意義，那意義在於；以更需要的材料製造、就自身而言較適宜的規格、承載藝術行為遺留的支撐物。簡而言之，它是支架，作為繪畫支架的物體。

因而這裡有個關於繪畫的態度；繪畫者以生活的現實作為提示，並製造他的繪畫支撐物，如此的繪畫本身之操作，從支架製作以致於完成整件繪畫，更貼合一個所屬時空與其切身經驗的歷程。而一個有意思的聯想是，或許數百年前的威尼斯人製造畫布正基於這個理由（當然是推測）。

圓管之於繪畫的材料課題中，所關注的仍是底層的問題，期盼的是一種無關乎上下左右邊界的繪畫材料，而那由角材拼接搭建的底層，僅打磨至略微粗獷的質地，其目的在於營造與繪畫所遺留的輕盈物之間的對比，那對比或許在某種狀態下能夠彼此幫襯。

當我們提及繪畫所遺留的事物，「輕盈物」似乎是一個不慎恰當的比喻，繪畫就其結構質地或創作者心緒而言，總是具重量的物件，繪畫不容易是遠眺彼方的事物，而是回溯既往的物質遺留，該遺留落定後澱積為具體事實，並隱匿在繪畫最薄質的表面之下。

因而此處所提及的輕盈物意味著一個底層裸露的操作方式，如前文所說，切盼底層與繪畫遺留彼此之間的映照，該映照或許使較輕盈物（繪畫遺留）愈加輕盈，較沈重物（底層）愈加沈重。

Standardized Supports

Through deliberation in the making, the circular pipe is minimal in its appearance; painted white on the exterior, has a thickness, standardized, and has wood texture revealed on the interior.

Its minimal appearance is expected to convey a sense of practical construction, which is similar to an engineering component, indeed the most important component. Its individual existence doesn’t carry any meaning, and it has to be linked with an event, or even with life on the whole.

The design of the circular pipe does have a reference. It’s based on cement pipes for industrial use, and being a model of everyday life, it’s endowed with artistic meaning; the meaning is in making the supports for carrying the imprints of the act of painting with materials more necessary, and in dimensions more appropriate for its purpose. Simply said, it’s a support, it’s a thing acting as a support for painting.

Hence, this involves the attitude of painting; the painter draws hints from the reality of everyday life and makes his own support for painting. The operation of painting as such, from the making of the support to the accomplishment of painting, is a process more in tune with the painter’s particular time and space and his personal experience. Also, a meaningful association thus arises: maybe this is exactly the reason why the Venetians made canvas a few hundred years ago (This of course is only a speculation.)

The issue on which the circular pipe focuses, in terms of the study of materials of painting, is still the base. It aims at a kind of painting material with no borders on the top or bottom, nor on the right or left. And the base, constructed and glued up using angular fixtures is only polished to a mildly coarse texture with the intention of making a contrast with the light stuff left by painting. That contrast may be helpful to each other under certain circumstances.

When we mention the things left by painting, the term “light stuff” seems to be an inappropriate analogy. Painting, to its structure and texture or to the creator’s emotion, is always something with weight. Painting is not readily an act to see things faraway in a distance, rather, it’s the material imprints of the reminiscence of the past. Those imprints are fixed and deposited as concrete reality, and are hidden underneath the thinnest surface of the painting.

As such, the light stuff we have mentioned here signifies a mode of operation to expose the base. As mentioned above, reflection on the relation between the base and the imprints of painting is expected. Such contrasting reflection may leave the light stuff (the imprints of painting) appearing lighter, and the heavy stuff (the base) all the more heavier.