“1000 Events of Painting”
年代：2009
材質：木材、壓克力顏料、水彩顏料、水泥漆
規格：3cm×4cm×1000
展出：疏離的速度；吉林藝廊；台北市
翻譯：葉希
《一千個繪畫事件》是由2009年五月開始執行的計畫，我製作了一千個木質結構的塊狀物，並提取生活中的單一事物完成繪畫物件，這些繪畫物件不僅形塑了我的生活，亦提示了我與整個社群互動的結果。
長期以來，我希望體現的是繪畫的物質性結果；藉由生活中林林種種深印腦海的事物。
作為一個繪畫者，我以生活的現實作為提示，並製作獨有的繪畫支撐物，如此的繪畫本身之操作，從支架製作以致於完成整件繪畫，這樣的創作過程，更加貼近我生活的時間與空間下的經驗。
繪畫是一種操作過程的遺留物，創作者對於某些特定事物有所感觸而執行的繪畫事件。
繪畫也是一種生命經驗的反芻與超越，生為一個處於某個社會網絡中的人，他對生活擁有感觸而留下的銘刻，像是一個有意義的記號。
我所思考的繪畫概念，並不是一個關於繪畫可能性的問題，而是一個公領域與私領域交互作用的過程。
繪畫擁有其私密性質，也就是我所說的私領域部份，某些獨特經驗經由作者的詮釋成為某種專供自己或小團體辨識的符號；相對而言，繪畫也有其公眾性質，作者身為一個社群分子，他必然經驗許多與社會互動的過程，無論其互動的情況如何，那過程在繪畫的表現中昭然若揭。
塊狀物體為木料製成，它同時肩負著繪畫的支架與表面，這樣的材質選擇表明了我對繪畫材料的體會與告白，它是一種落於現實的物件。
繪畫對象的單一繪製猶如記號的標示，每一個繪畫對象皆意味著生活上的某個部份或是截點。舉例來說，對象物或許是朋友的鞋子，或許是每天會經過的牆面上的塗鴉，甚至只是某個特殊的符號。
選用塊狀物去做繪畫，意味著增強繪畫的物質性聯想，這是我創作上的中心思惟；成千的塊狀物體所完成的作品，有其蒐集羅列的意義蘊含，我希望藉由一個大量的個體聚集，去表達我對生活的整體感受與心得。
“1000 Events of Painting” is a project I have been undertaking since May, 2009. I have made 1000 wood-structured blocks, and painted on them 1000 individual incidents from my everyday life. Not only are these paintings expressions of my life, they reflect the consequence of interaction between the community and me.
For a long time, I have aimed to demonstrate the material consequence of painting through various life instances which are deeply imprinted on the mind.
As a painter, by taking hints from real life, I construct unique supports for my paintings. The operation of painting, from making the supports to accomplishing the painting itself, is a creation in a holistic sense. Such a creative process synchronizes all the more the time and space of my life experience.
Painting is the consequence of an operational process. It is an event through which a creator expresses his feelings and thoughts about certain things.
Painting is both a reflection and transcendence of life experience. As a man living in a particular social network, he imprints his emotions about life on painting, and they are markings filled with meaning.
The concept of painting I am reflecting is not about the possibility of painting, but the interaction between the public and personal domains.
Painting embodies an intimate nature, which belongs to the personal domain. The particular personal experience is reinterpreted by the author as unique symbols which can be communicated to himself or a small circle of people. In contrast, painting also exhibits a public nature. The author, as a member of a society, inevitably interacts frequently with the society, and whatever the chemistry of the processes, they are thoroughly reflected in his paintings.
Making use of the blocks for painting implies a stronger material association of painting. That is the core thinking of my creation. A work comprises a thousand pieces of blocks encompasses the meaning of collecting and parading. Through gathering a large number of individual objects, I hope to express the experience and reflection of my life .
年代：2009
材質：木材、壓克力顏料、水彩顏料、水泥漆
規格：3cm×4cm×1000
展出：疏離的速度；吉林藝廊；台北市
翻譯：葉希
《一千個繪畫事件》是由2009年五月開始執行的計畫，我製作了一千個木質結構的塊狀物，並提取生活中的單一事物完成繪畫物件，這些繪畫物件不僅形塑了我的生活，亦提示了我與整個社群互動的結果。
長期以來，我希望體現的是繪畫的物質性結果；藉由生活中林林種種深印腦海的事物。
作為一個繪畫者，我以生活的現實作為提示，並製作獨有的繪畫支撐物，如此的繪畫本身之操作，從支架製作以致於完成整件繪畫，這樣的創作過程，更加貼近我生活的時間與空間下的經驗。
繪畫是一種操作過程的遺留物，創作者對於某些特定事物有所感觸而執行的繪畫事件。
繪畫也是一種生命經驗的反芻與超越，生為一個處於某個社會網絡中的人，他對生活擁有感觸而留下的銘刻，像是一個有意義的記號。
我所思考的繪畫概念，並不是一個關於繪畫可能性的問題，而是一個公領域與私領域交互作用的過程。
繪畫擁有其私密性質，也就是我所說的私領域部份，某些獨特經驗經由作者的詮釋成為某種專供自己或小團體辨識的符號；相對而言，繪畫也有其公眾性質，作者身為一個社群分子，他必然經驗許多與社會互動的過程，無論其互動的情況如何，那過程在繪畫的表現中昭然若揭。
塊狀物體為木料製成，它同時肩負著繪畫的支架與表面，這樣的材質選擇表明了我對繪畫材料的體會與告白，它是一種落於現實的物件。
繪畫對象的單一繪製猶如記號的標示，每一個繪畫對象皆意味著生活上的某個部份或是截點。舉例來說，對象物或許是朋友的鞋子，或許是每天會經過的牆面上的塗鴉，甚至只是某個特殊的符號。
選用塊狀物去做繪畫，意味著增強繪畫的物質性聯想，這是我創作上的中心思惟；成千的塊狀物體所完成的作品，有其蒐集羅列的意義蘊含，我希望藉由一個大量的個體聚集，去表達我對生活的整體感受與心得。
“1000 Events of Painting” is a project I have been undertaking since May, 2009. I have made 1000 wood-structured blocks, and painted on them 1000 individual incidents from my everyday life. Not only are these paintings expressions of my life, they reflect the consequence of interaction between the community and me.
For a long time, I have aimed to demonstrate the material consequence of painting through various life instances which are deeply imprinted on the mind.
As a painter, by taking hints from real life, I construct unique supports for my paintings. The operation of painting, from making the supports to accomplishing the painting itself, is a creation in a holistic sense. Such a creative process synchronizes all the more the time and space of my life experience.
Painting is the consequence of an operational process. It is an event through which a creator expresses his feelings and thoughts about certain things.
Painting is both a reflection and transcendence of life experience. As a man living in a particular social network, he imprints his emotions about life on painting, and they are markings filled with meaning.
The concept of painting I am reflecting is not about the possibility of painting, but the interaction between the public and personal domains.
Painting embodies an intimate nature, which belongs to the personal domain. The particular personal experience is reinterpreted by the author as unique symbols which can be communicated to himself or a small circle of people. In contrast, painting also exhibits a public nature. The author, as a member of a society, inevitably interacts frequently with the society, and whatever the chemistry of the processes, they are thoroughly reflected in his paintings.
Making use of the blocks for painting implies a stronger material association of painting. That is the core thinking of my creation. A work comprises a thousand pieces of blocks encompasses the meaning of collecting and parading. Through gathering a large number of individual objects, I hope to express the experience and reflection of my life .
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