Imaging the Imaginary Plane - Wang Sean Solo Exhibition
想像你就是白色——王璽安個展
2014.09.13－10.19
想像你就是白色——王璽安個展
2014.09.13－10.19
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Artist statement
The star studded sky, shooting stars, photosynthesis, clouds, reflections on the deep sea, window panels, and even phenomena of colors that are white and hazy…How can we capture the variety of things in the world through drawing and to also reveal something different? When attempting to illustrate the world, the story is not the chosen narrator of my drawings; instead, I choose for the process of the drawing to speak. The realm within the drawing is a world that knows no contemporality or tradition, as it speaks a process of lasting eternity. If you take a closer look at the parts with the color white in the images, you will discover a world of rich possibilities, and during my process of art making, I always focus on incidents and things that appear rather insignificant. Some think that this attention to detail is rather neurotic, but what I am hoping to do is to open up a world of boundless sensory imagination. The color white is often the starting point for my thoughts, as it has become a habit of mine to think while facing a blank void, and this is incorporated in my approach to process art, emotions, and even sentiments. Therefore, I regard white as a crossing of sense and sensibility, which is synonymous to art’s irrational rationality. The artistic technicality with drawing has long been a subject of extensive challenge, and this technical aspect is something that I am not willing to forgo. My practice of art can be regarded as a form of highly technical graffiti, with the drawing techniques and details not intended as an assurance for the existence of the story. Without a complete sketch, my drawings are not just merely composed of colors being filled in, but rather, they weave together gestures and natural techniques related to the practice of drawing. In which case, the production process of the imagination becomes the subject. The behavior echoes anthropological concepts, and the technique applied represents advanced or traditional historical or contemporary indications. I often employ traditional drawing methods but strip them of their traditional attributes, with a question targeted at all things in the world: What is real, and what is the reality of drawing? White seems to belong in the category of “nothingness”, but I’ve decided to preserve the details of abstract, figurative, story-based and not story related details within these nothingness. I envision that these aforementioned terms to be of little significance in the drawings. Sometimes, I also approach drawing in ways similar to sculpture and writing, and thus traces of drawing with features found in writing are observed, with the focus placed on the artwork’s margins and distinctive layers. By including these attributes, it is my intention for the image within the frame to not be so easily categorized and to be able to fully utilize white’s notable quality of being “something within nothing.” I am still in the pursuit of a state of stillness, and I find that the appeal with art making is that it allows for the departure from the current time being into a state of blank void without the order of time. I’ve spent an extensive amount of time contemplating about this. The way that drawing layers, compiles, and then compresses time all at once is a process that I am deeply fascinated by. There is a great distance between drawing and reality, as it belongs in the world of imagination in an unrealistic manner, with everything in drawings seemingly fictitious – is the white luminescence coming from the white background or created by the paint; it is not light or anything else. I’ve grasped these notable features of this blank void, and at this present moment, am trying to open up the space between my thoughts and these illusions. Perhaps, the best way to face a drawing or any other artwork is to return the self to ground zero, and imagine that you are the color white, figuratively yet also imaginatively. 文／王璽安 星空、流星、光合作用、雲、深海的反光、窗格甚至如白霧般的色彩現象等等，世界種種事物要怎麼透過繪畫流露而呈現一種不同的畫面？這就好像去描繪一個世界，我不選擇故事去讓繪畫說話，而讓繪畫過程說話，畫面裡的世界是個不分當代與傳統永恆過程吐露。 這些形象裡頭，如果近看畫面裡頭那些白色，會發現他卻是無窮可能的豐富，我在創作的時候專注在這些看似無所緊要的事物。而有人說這是略帶神經質的細節，而我希望開啟了感官的無盡想像。 白色常常作為思考的起點，長久以來我習慣對著空白思考，從藝術到情緒甚至情感，於是白色是理性與感性的交流，如同藝術的非理性理性精神。 長久以來藝術技藝問題在繪畫裡頭受到挑戰，我不願意放棄這個技術層面。我所從事的創作或許可以說是種高度技術的塗鴉：繪畫的技術跟細節並不是為了滿足所有的故事存在。沒有完整的草稿，也不僅是填色與覆蓋；而是交織所有可能的繪畫手感與自然技術。那麼想像的製作過程就是主題。如同人類學概念的行為，藝術家的技術，代表了先進抑或傳統歷史與當代癥候，我往往採取傳統的一些繪畫方式並且破除他們傳統看起來的樣子，這彷彿是對於世界萬物的一種提問：真實是什麼，繪畫的真實又是什麼。 白色看似屬於「沒有」的意義，而我在這些沒有之中，保留了抽象繪畫以及具象繪畫、故事與非故事的細節，我希望這些名詞在畫面裡頭意義並不是那麼的過度有意義的。有時候我對於繪畫的態度也接近雕塑跟書寫：所以有了那些書寫般的繪畫痕跡，以及對於邊框跟層次浮凹的關注。我希望包含這些讓他在畫面框架中無從簡單分類起來，那麼我便可以充分利用白色「無有之有」的特質。 我還追尋一種靜止的狀態，我總覺得創作之所以迷人是因為我們可以從其中離開此刻，到了一種沒有時間序列的空白狀態，所以我花了很久在這些事情裡頭。繪畫的層層堆砌將時間一次壓縮，我著迷於這樣的過程。 繪畫距離現實遙遠，他非現實地屬於想像，繪畫裡頭的一切彷彿都是虛構——白色的光是白底或是顏料，不是光與任何事物。而我把握了這些空白的特質，在這個當下，試圖重新開啟思考與幻象之間的距離。 而或許，面對一件繪畫甚至是任何作品最好的方式就是將自己歸零，具體卻又似幻象般地，想像你就是白色。 |