最初的愉悅（2）

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
翻譯：葉希

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

Exhibition: Pleasure from the Beginning

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

Time: 2006.5

落於實地的想像經驗

製作圓管之後即是在其內部停留，期待一種躲避或是暫時的抽離，在每一個進入圓管的時間內，藉由空間上的阻隔攔斷當下，對已逝去的、沈重的事物進行有必要的再經驗；或又對未發生的、輕質地的妄想進行無力道的預先演練。

盼望在圓管內部所停留的時間中能夠執行繪畫，在圓管內部停留本身即是一個明確的藝術事實，執行繪畫其意義在於對這樣的事實留下些許線索，一種操作後的遺留，並供以他人觀看或審視，因而重要的不是遺留一個可供智識系統判別的痕跡，我並不過於期待某個體系性延展能夠在圓管內部被解讀。

就其操作而言，置身圓管內的經驗是封閉的，那僅容一人進入的空間像是密室，或說是不能自由拜訪的工作室，只供個人的思索與妄想，若是一個言談討論可以成立，那是步出圓管後成立的事實，因而一種有趣的交往經驗或許就此而生，往返於言談與不言談之間，往返於思想的往來與封閉的操作之間。

圓管尺寸有兩種具差異的規格，目的在於一個因應方法，因應空間與某種關連性的貼和，就此而言，是一種對立且關連的非隸屬事物；兩個較窄小圓管（外圓直徑60㎝，內圓直徑50㎝，長160㎝）之間的對立性是明確的，它必須經由某個鍊接使之產生交集，這個鍊接的工作則由較大的圓管（外圓直徑70㎝，內圓直徑60㎝，長180㎝）肩負。

遺留在圓管的隱約圖像或許是片段的記憶，但確實有所指涉，一種落於某地的想像經驗寄存於該些遺留之中，期盼塑造的是某個交通經驗，膨脹而溢出現實之物，就自身的理解，那似乎是個理所當然的繪畫原型，於現在空間所留下的、輕薄而狀似不落實地的粉末遺留。

然而該些遺留確實落於實地之上（底層），並因此成為可以探究的材料學線索，一個有意圖的操作下所完成的事物；兩個對立而等大的圓管，其內部的人像與地圖像遺留是稀落而區隔明白的，其中意有所指的告知了某時某地某人的特殊，而其操作卻不見得明白確切，那是經由考量公空間與私領域之間反覆拉扯的結果。

較大圓管的圖像遺留之於兩個較小圓管，像是一個介入平台，它直接與進入圓管的身體相關；一扇等比例大小的民航機窗，外部隱約可間機翼結構，於是某個想像經驗似乎可以藉此執行，並鍊接另外兩個圓管，構築彼此之間的交集。

圓管與進入的觀看者之間，其交會片刻或許是由此至彼的孔穴，觀看者經驗於一個短暫的停留，以視覺高速瀏覽一個繪畫行為的遺留事物，得到某種經驗後離開，那身體與心理層面的進出成為序列性的操作；進入、觀看、審視，再進入、再觀看、再審視，如此反覆執行這個觀賞經驗，並就三個圓管內的事物進行思索，得出某個理解，無論是否關乎繪畫，亦無論是否關乎藝術，但某個屬於作品與觀者之間的交會卻是必然的。

於圓管外部的觀看亦是可以成立的觀賞經驗，但不同於進入的觀賞者與圓管內部遺留的交會，那或許是有所保留的態度，僅供一人出入的圓管必然帶有些許的躲避意味，那躲避意味也許是我所營造出的姿態，創作者的姿態，一個不強制的邀請，由觀賞者自身決定是否需要體會置身該空間的感受，或說是否需要創作者本身所遺留的心緒與氣味；因而於圓管外部的觀看可以不夾帶強烈的感受，以一個冷靜的態度端詳並審視圓管內外，將其作為融入繪畫體系支流的藝術事物理解，那是作品與觀賞者相互凝視的觀賞經驗，一個彼此保留的交往。

Imagining Experience in Reality

After the circular pipe is made, one is to linger inside it. An escape or a temporary detachment is expected. Each time when one enters the circular pipe, the present is disrupted by the seclusion of space, and one would have to re-experience the things of the past and other somber happenings; or carry out a frail rehearsal of the light and yet-to-happen fantasy. 

I hope to be able to paint during the time I linger inside the circular pipe. The lingering inside the pipe is itself clearly an artistic evidence. The act of painting means to leave some traces for this evidence, a kind of imprints left behind after the operation, and they’re left to be seen or observed by others. As such, the importance is not on leaving marks which can be analyzed by certain knowledge systems. I wouldn’t unduly expect certain systematized extensions left inside the pipe to be interpreted and understood.

In terms of the operation, being inside the circular pipe is an enclosed experience. That space, big enough for only one person, resembles a secret chamber or a workshop not open freely to visits. That’s a space only for personal thinking and fantasizing. If a discourse can be established, it can be a reality only after walking out of the circular pipe. An interesting interaction may then result – oscillating between talking and non-talking, oscillating between the flowing of thoughts and the enclosed operation.

The dimensions of circular pipes have 2 different specifications, the aim for which is adaptability, adapting to the space and certain associations. As such, they’re correlated and in opposition at the same time, but not in subordination. The opposition between the two smaller circular pipes (the diameter of the outer ring is 60cm, of the inner ring is 50cm; length is 160cm) is evident. They have to be linked by certain mechanism to enable their interaction, and the bigger circular pipe (the diameter of the outer ring is 70cm, of the inner ring is 60cm; length is 180cm) serves as the link.

The vague images of the imprints left inside the circular pipe may be segments from memory, but they actually have references. The imagining experience about a certain place is stored in those imprints, and they mean to create certain experience of communication, the things expanded and over-flown from reality. According to my own interpretation, that seems naturally to be a prototype of painting; the powdery imprints, which are light and thin and seemingly unattached, left in the present space.

However, those imprints are actually etched on a solid ground (the base), and they become a clue for studying materials - objects made under intentional operation. On the inside of the two circular pipes which oppose each other but are equivalent in size, the images of human figures and maps left are sparse and distinct in space, and they deliberately tell the uniqueness of certain people at certain places at certain times. But its operation is not clear nor exact. Rather, it’s the outcome of consideration of the repeated oscillation between the public and private domains.

The bigger pipe with images imprinted, comparing to the two smaller circular pipes, acts more like an intervening platform and it directly relates to the body entering the pipe; through a window of the size of an aviation aircraft, with the structure of the wings of the plane vaguely visible, the execution of certain imagining experience seems possible. It also links up another two circular pipes to create interaction among them.

Between the circular pipe and the viewers entering it, their moment of meeting may be like an intervening. The viewer experiences a short lingering, visually scans at high speed the imprints left by the act of painting, and leaves after acquiring certain experience. That entering and exiting of the body and the mind becomes a procedural operation; entering, viewing, observing; re-entering, re-viewing, observing again - the viewing experience is being repeatedly carried out in this way. The viewer also thinks about the things inside the three circular pipes, and then arrives at certain interpretations. Whether it’s about painting or not, whether it’s about art or not, the meeting between the viewers and the work is inevitable.

Watching the circular pipe from the exterior is also a viable viewing experience, but it’s different from the meeting between the viewers who enter and the imprints left inside. That may express an attitude of reservation. A circular pipe allowing the passage of only one person would definitely carry a sense of escape, which may be an attitude created by me, the attitude of the creator. A non-compulsory invitation leaving the viewer himself to decide whether to experience the lingering inside that space, or the emotion and aura left by the creator himself. As such, the viewing outside the circular pipe may not carry strong emotion.  Instead the interior and exterior of the pipe is to be viewed and observed with a calm attitude, thereby integrated into an understanding of the artistic stance of the sub-stream of painting system. That is the viewing experience of the gaze between the work and the viewer, an interaction in a reserved way.