Box: The Profound World - Wang Sean Solo Exhibition
盒子—深邃的世界 王璽安個展
2011.10.08~11.13
盒子—深邃的世界 王璽安個展
2011.10.08~11.13
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By Wang Sean
A box suggests that there is something waiting to be opened and discovered; or embodies the concept of everything a box can accommodate. The act of painting sometimes shares these characteristics. Colors are similarly placed or removed, covering some objects in the image. This theme is a type of metaphor - in the presentation, there really is no box that can actually be opened; what I want to grasp is those relationships of discovering and being discovered that are inherent in this framework. At first glance, the main theme for this exhibition seems to be landscape scenery. However, I do not necessarily want to simply paint figurative landscape paintings; on the contrary, within the houses, sky, trees, and other subjects in the image, I want to express the problems that arise from the layers and framework of painting. This is similar to these subjects encountering the same problem we do in real life of being limited to the constraints of time and space. Most of my more recent works were born from this idea. They reflect another side to the hustle and bustle of modern lifestyles, leading to a vast, open space for imagination. Perpetuating the diversity of creative thinking, some works appear to have been drawn with the style of figurative oil paintings. They do not necessarily attempt to reproduce an image, but present an observation of an actual problem. In the heavy stacking of numerous layers, some of the larger paintings present distant and deep scenes similar to those found in ink and wash paintings. However, in the creative process, this aspect primarily aims to open up the possibilities of space. Simultaneously, this is the problem of a painting’s completion level; something that I’ve always had concerns about: in what type of experience is a painting-like work considered to be complete? Therefore, in these works, there are many whose colors surface in layers at the border. For this exhibition titled, “Box,” I want to highlight the process within these completed images. These processes allow the problem of time to appear all at once. These problems do not necessarily only belong to the subjects in the painting, but perhaps even more so to those of objects with abstract meanings. As a result, it is my opinion that painting does not actually have any abstract or figurative problems. In reality, those discovered objects are being abstractly presented. In the end, these objects become those experiences that carry a certain degree of sensation. For this exhibition, there will also be a few three-dimensional works being showcased. Although these works are three-dimensional, their mass is derived from a stacking of layers. Therefore, they can still be categorized as paintings. Furthermore, some of these works consist of textual symbols and sounds. The sounds incorporated into the work are like colors that can be felt, just like the phonetic relationship between thought and language. Therefore, although this exhibition’s artworks may seem like paintings, they are actually more an amalgamation of numerous expression forms. The landscape appearances depicted in these images and works are created through the stacking of layers. The presentation for these themes and propositions are akin to what we find in the relationship of opening a lid, looking out into the distance at a house, or viewing outwards from within an interior - we discover the permanent objects and signs in our lives. These experiences and deep, hidden realms will remain amongst us forever, much like how we will always try to discover the profound relationships amongst those objects. 文／王璽安 盒子意味著有什麼東西等待開啓後被發現；或是盒子他所能容納的概念。繪畫有時候也是這樣，顏料如同被放到其中，或是拿掉、覆蓋一些畫面裡的內容。這個主題是種隱喻，展出中其實並沒有真的像是盒子一樣可以打開的物；我要的是那些在框架裡頭發現與被發現的關係。 這次展出中，風景般的場景看似是主題，但我並不僅要畫出具象的風景題材繪畫；相反的，在這些房子、星空、樹林等等題材中，我要的是繪畫的層次與框架的問題，這就好像這些題材在現實生存經驗裡頭我們碰到的時空限制問題，我近期的創作多半應此而生，它反映的是當代繁碌生活的另外具有開闊想像空間的另一面。 延續以往的創作多元思考，有些作品看似有著油畫具象繪畫樣式的作品，它並不是要去再現圖像，而是要呈現觀看虛實的問題。有些稍大尺幅的繪畫，則在非常多層的重疊之中呈現一個彷彿水墨畫深遠景色空間的畫面，但在創作的方式上，這些其實主要關乎開闊的空間可能性。這同時也是我一直以來所關注的繪畫完成度問題：一幅如畫的作品，在什麼樣的經驗裡頭被認定是完成的。所以在這些作品裡頭，有許多作品上的顏色層層在邊界中浮現，這次盒子為名的展出，我要凸顯的是這些完成畫面中的過程。這些過程也使得時間的問題一併出現。這些問題並不只是屬於繪畫題材的，而或許更屬於那些抽象意義的事物，因此對我來說繪畫實際上並沒有抽象與具象的問題，那些被發現的景物，其實反而是抽象地被呈現了出來，而最後這些事物成為了那些具有感受度存在經驗。 這次展出還有幾件立體作品，雖然是立體的，但這些具有體積的作品透過上頭的層層覆蓋痕跡，它依然是屬於繪畫的事物；甚至是有作品是具有文字符號以及聲響的，這個聲響同樣是屬於顏色與感受的，就像我們透過語言思考時的那種聲音關係。所以這次的展出，雖然看似屬於繪畫的展出，但它更是屬於由許多組成計畫的呈現。 這些畫面或是作品裡頭的景緻樣貌，透過層層覆蓋顯現而被營造出來，這些主題或是命題的呈現，就好像我們打開蓋子、或是遙望一棟房子亦或是從室內向外頭這些關係中，我們發現當下生命那些恆存的事物與記號，而這些經驗或深邃地、永遠地留存在我們之中，也如同我們永遠會去發現那些事物彼此之間的深刻關係一般。 |