作品計畫:盒狀的繪畫物件

Plan of the Work: Box-shaped Painted Objects

翻譯:葉希

作品構思

欲製作數個可以展開與閉合的盒狀物件，並在物件的表面施以繪畫。

若涉及內部與外部之區分，即是一個物件課題，關注焦點在於繪畫的支撐物，繪畫行為宛若封閉性事物的開展嘗試，或許可以成為一種創作者自身決定開展與否的事物。

盒狀物件為正立方形之展開結構，材質以木料製作，每塊木料之間安置蝴蝶片使之具備翻折功用，繪畫面原本具有的表面屬性經過組合之後，封閉於盒狀物件內部。

想像一種伸縮自如的觀畫經驗，物件被擺放於平台上，猶如雕塑品；一個立方體，又可因其開展轉為平面，原本的立方體的外部因開展而分解，並轉換為繪畫的支撐物，而其內部的繪畫便因此映入眼簾；一個甚有意味的考量在於支撐物的意義，究竟該如何看待那擺在第一要位的繪畫支撐物？


底層、層次、空白載體

假若欲從繪畫的物質材料線索追尋繪畫的面目，勢必是巨量的資料庫整理工作，一個時間地理的縱橫座標含括著龐大的內容物，在那份量龐然的體系中，具有最清晰繪畫身份表徵的材料即是畫布。一個經由文藝復興時期普及化並進而影響全世界繪畫面目的材料，畫布的通行意味著現今我們對於繪畫身份的特殊性聯想：一個可攜帶的、方形的、具有木質支撐物、布面的、展示時懸掛於牆面的繪畫材料。

畫布使用於今日的繪畫，幾近發展到全面通行的局面，姑且不論材質的差異之分，無論是具有專業身份的畫家或一個對繪畫有興趣的業餘畫手，使用畫布來完成繪畫是很普遍的現象，這種普及化充分地宣示了畫布應用於繪畫上的優勢，相較於其它繪畫材料，畫布的優點是顯而易見的：一個易於收藏保存、不易損毀、交通方便、展示空間便於轉換的繪畫材料。

當我們深究一件使用油料繪製於畫布的繪畫作品時，除了油畫作品本身的特殊性之外，亦可看見那身為繪畫所共有的普遍特性，其實踐於一個繪畫的操作過程中，再於結果之物件上逐漸隱匿，若我們如偵探般搜尋作品中畫家所遺留的線索，並嘗試想像與分析的工作，該些特性或許得於作品的細膩處顯現。
 
若以繪畫所共有的質素去分析其操作歷程，我們會看見畫家首先製作了一個於繪畫材料學上處於空白狀態的載體，操作出一個可以施為的底層，將顏料調和至可以敷塗的程度，使用塗抹的工具，於底層逐次落筆，並於某個時間點上停止不再持續（最終的停筆），停止的動作往往意味著作品的完成，因而成立為具有內容的繪畫。這個操作歷程揭露了繪畫可見的身分，一個座落於畫家所認定的空白物質之上的底層，不論次數堆疊內容的物件，並含括著畫家製作繪畫的意圖。

底層就繪畫而言是基礎而至關重要的事物；若以繪畫歷史對於畫布的處理來談論，畫家必須考究的，單是布料的種類便有許多，而支撐畫布的內框、繃畫布所需要的固定物、上底所需要的材料等……，在在都吐露著畫家本身所承襲及其所表出的繪畫態度。

這是一個身份的表明，表明了畫家從事繪畫所需要的最基礎質素，即一個「意義上的空白」。「意義上的空白」意味著尚未添加繪畫內容前的空白載體，無內容的繪畫載體之成立並不是隨意的事，它不是信手拈來一張畫布隨手就畫，而是由長時間操作繪畫者仔細思慮而完成，畫家經由長時間累積的繪畫經驗，製作出最符合其繪畫需要的底層，這是困難的事，即便他僅止挑選出一張現成的畫布作畫，也必須是經過縝密考量的選擇。


空白的物件：類紙張

以現況而言，紙張是施行繪畫的最簡易材料，然而就創作者而言，使用紙張會有其材料學上的理解，該種理解的意義若加以延展，繪畫有個寬廣的思慮範疇。

思索如何去構製一個空白的物件繪畫，類於紙張之物，就作者而言才知道的，一種質地、觸感、底層、材料等等考就的空白物件，但並不僅只順手拿取這麼容易，一個分解為非指稱物理的、現實可行的基本元素，像是以認識的、可用的材料結構出自身的王國般，構築一個空白的類紙張物件。


架構「紙張」的繪畫

若說繪畫的「紙張」是個被架構的物件，該繪畫必然與那被架構的物件之間產生相互的影響，因而有一個現實問題是首先要被思慮的，即是如何繪畫？一種意圖性必須被自身審慎的自問，「我該如何繪畫？」這樣的問題在架構「紙張」之前會被提及。

然而是否可以得出這樣的答案？「審視已經架構完成的紙張之後，再來思索這個問題。」這或許像是頑劣無法約束的惡童般行為，但或許繪畫以致於創作往往便有這種將一切都置之度外的態度，有時只是無意義的實驗，甚或僅只創作者的妄想。

Creative Concepts

I intend to make several box-shaped objects, which can be opened and closed, and paint on their surfaces.

If the separation of the interior and exterior is involved, that is an issue related to an object and the focus would be on the supports for painting. The act of painting itself resembles an attempt to open an enclosed thing, or it may become the creator’s decision whether or not to open it.

The box-shaped object is a cube which can be unfolded into a flat surface. It’s made of wood. Collapsible metallic pieces are set between the wooden plaques to enable the structure to fold. The painted surfaces, which are originally exposed, are enclosed inside the interior of the object after assembly.

Imagine a viewing experience with flexibility. When the object is placed on a stand, it’s like a work of sculpture; it’s also a cube which can be unfolded into a flat surface. On unfolding, the original exterior of the cube is separated and is turned into a support for painting, and the painting on the interior is thereby exposed to the eyes. A rather meaningful reflection is on the meaning of the support: How to view the support for painting that is put at the foremost position?

The Base, the Layers, the Empty Carrier

If the face of the painting is to be traced through clues from painting materials, it is bound to be a tough task of sorting a huge data bank. Co-ordinates of diverse time and geography would involve enormous contents, and within this enormous system, the material bearing the most distinctive identity of painting is canvas. It’s a material that became popular during the era of the Renaissance and went on to influence the face of painting of the whole world. The popularity of canvas signifies the special associations we still hold now about the identity of painting: a painting material that is portable, rectangular, with wooden support and cloth-made surface, and can be hung-up on walls for display.

The use of canvas for painting has almost reached a stage of comprehensive and general usage. The quality of the materials aside, using canvas for painting is a popular phenomenon for a professional painter and for an amateur alike. Such popularity evidently declares the advantages of using canvas for painting. In comparison to other painting materials, the advantages of canvas are readily exemplified: a painting material that is simple for storage, preservation and transportation, and is easy to change at the exhibition space.

When we deeply consider a work painted with oil on canvas, besides the specialty of the oil work itself, we would also notice that universal feature of painting - it’s involved in the painting process, and then it’s gradually hidden beneath the resulting object. If we do our detective work and search for the clues left behind in the work by the painter, and if we try to imagine and analyze, we may find those special features exposing themselves in the exquisite details of the work.

If we analyze the operational process in terms of the common qualities of painting, we would see a painter first makes a carrier in the empty state according to his study of painting materials. He makes a base for further action, and then mixes colors to a spreadable state. Making use of painting tools, he paints on the base stroke by stroke, and he stops and discontinues at a particular time (the ultimate finishing stroke). The stopping action usually signifies the accomplishment of the work, which becomes a painting with contents. This operational process reveals the possible identity of painting – an object resulted from the multiple overlaying of contents on the empty state of the base defined by the painter. It’s also embedded with the painter’s intention of painting.

The base is the foundation and the most important thing in painting; in terms of how canvas is treated in painting history, a painter has to consider many factors - the many types of cloth to select from, the inner frame for supporting the canvas, the fixtures needed to mount the canvas, the materials for fixing the base and so on. All these factors reflect the attitude of painting adopted and expressed by the painter.

This process is a declaration of an identity, declaring the most foundational element a painter needs when implementing painting, namely, a “symbolic emptiness”. “Symbolic emptiness” signifies the empty carrier before any painted contents are added. The making of the painting carrier devoid of contents is not spontaneous. It’s not like simply picking up a canvas and then drawing, rather, it’s the result of scrupulous contemplation by the painter through a long time operation. The painter, through the painting experience accumulated over a long span of time, makes a base most suitable for his painting. This is a difficult task, as even if he just has to choose a canvas for painting, it’s a choice made with detailed reflection.

Empty Object: Sort of Paper

Under present conditions, paper is the simplest material available for painting. However, to a creator, making use of paper has a special interpretation in terms of the study of materials. If the meaning of that interpretation is further extended, painting would entail a wide scope of range of reflection.

Think about how to construct an empty painting object with a sort of paper. Only the creator would know – an empty object, resulted from consideration of texture, touch, base, materials and so on, is not just simply handy. It’s decomposed into basic elements which are non-physically and realistically feasible. It’s like constructing its own kingdom with some known and usable materials, constructing an empty object with a sort of paper.

Painting on Constructed “Paper” 

If the “paper” for painting is considered an object being constructed, the painting itself and the object constructed should then cast influence on each other. It’s therefore crucial to first consider a realistic question, that is, how to paint? One should ask oneself seriously, “How should I paint?” This question should be raised before the construction of “paper”.

Somehow, would it lead to an answer like this? “After viewing the completely constructed object, I will ponder over this question.”   it’s somehow as disobedient and unrestrained as a wicked kid’s behavior, but perhaps painting, or even creation on the whole, often displays a carefree attitude of this kind. Sometimes, it may be an experiment with no meaning, or only the fantasy of a creator.