The Frame 構思的構思
Sean Wang Solo Exhibition
王璽安 個展
2023.08.19-2023.09.30
開展 Opening | 2026.08.01 (六) Sat. 2 pm
座談 Artist Talk | 2026.09.12 (六) Sat. 3 -5 pm
與談人 Panelist | 王品驊 Pin-Hua Wang
國立彰化師範大學美術學系專任教授
Professor, Department of Fine Art
National Changhua University of Education
展覽簡介
手機螢幕、社群煤體的方形貼文、電腦的視窗、相機鏡頭裁切出的取景框……現代人的日常，幾乎都是透過「框」觀看這個世界，卻從未意識到：每次「框」的出現，都是一次選擇、一次編輯、一次對現實的重新構成。
對王璽安而言，繪畫亦是如此。他在繪畫時經常思考如何去決定畫作的構成，這次展出的作品，便是延續藝術家對空間與繪畫本體的思考，手法上大量借用攝影、設計與建築的取景邏輯：先在畫面中取景，再於既有的取景之中重新取景，讓主體之外的「框架」直接成為創作的主體。
在媒材處理上，王璽安採取色彩層層堆疊與覆蓋的方式，使畫面得以累積出屬於自身的時間性，每一次構思與修正的痕跡並未被抹除，而是沉積於畫面之中。他也進一步發展其標誌性的「框架」語彙。這些框架看似留白，實際上並非空白，而是先從畫面主體擷取色彩覆蓋整個框架，再刷上數層白色，使白色呈現出帶紫、帶綠等細微色偏，形成豐富而克制的色彩層次。並由此衍生出不同的框架形式：讓畫面主體突破框架、以漸層色彩消融於白色畫布、保留框架中原始色彩而不覆以白色，以及反轉框架與主體的位置，使主體包圍框架本身。這種創作方法體現出王璽安長期以來的美學思想：技法本身即是思考的紀錄，繪畫因同時具備理性的邏輯推演與感性的想像兩種面向，二者並非對立，而是在反覆堆疊之中逐漸交融。
在這個人人被無數的框包圍的時代，「The Frame 構思的構思」將呈現王璽安近年繪畫實踐的階段性成果，也提供一個契機，讓觀者得以在展場中覺察自身觀看行為背後，那層層疊加、卻鮮少被意識到的框架結構。
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About Exhibition
Smartphone screens, square social media posts, computer windows, camera viewfinders—our daily experience of the world is increasingly mediated through frames. Yet we rarely recognize that every frame represents a choice, an act of editing, and ultimately a reconstruction of reality.
For the artist, painting operates in much the same way. Throughout his practice, he has continually questioned how a painting's composition is determined. The works presented in this exhibition further extend his ongoing reflections on pictorial space and the essence of painting, Wang extensively employs the framing logic of photography, graphic design, and architecture. He first establishes a frame within the painting, then reframes what has already been framed, allowing what would ordinarily function as a secondary structure—the frame itself—to become the central subject of the work.
In terms of media treatment, Wang Sean employs a method of layering and covering colors, allowing the painting to accumulate its own timeline. Each step of construction and revision is not erased but rather deposited within the painting. This process also further develops Wang's distinctive visual language of the frame.
Although these framed areas initially appear to be left blank, they are anything but empty. Wang first extracts colors from the central image and extends them across the entire framed area before applying multiple layers of white paint. As a result, the white retains subtle chromatic shifts—tinges of violet, green, and other barely perceptible hues—creating a restrained yet remarkably nuanced surface. From this method emerge multiple variations of the frame: compositions in which the image breaks beyond its boundary; forms that gradually dissolve into the white canvas through soft color transitions; frames that preserve their original colors without being overpainted in white; and even inversions in which the image surrounds the frame rather than being enclosed by it.
This creative approach reflects Wang Sean's longstanding aesthetic philosophy: technique itself is a record of thought; painting, by its very nature, possesses both rational logical deduction and emotional imagination. These two aspects are not contradictory, but rather gradually merge through repeated layering.
"The Frame " presents the phased acquisitions of Wang Sean's recent painting practice. In an era when our lives are surrounded by countless frames, i it invites viewers to become aware of the layered frameworks that quietly shape every act of looking—structures that remain ever-present, yet are seldom consciously perceived.