Lai Chih-Sheng : Nod
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賴志盛：點點頭
2025.03.15 - 2025.04.19 |
開幕 Opening | 2025.03.15 (六) Sat. 2 pm
座談 Artist Talk | 2025.03.15 (六) Sat. 3 - 4 pm 與談人 Panelist | 李碩瑜Li Shuo-Yu 藝術家 Artist |
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展覽簡介
「點點頭」通常示意認可、贊同或問候，也可能只是打了個盹⋯⋯。 日常中，專注與分心是並存的，就如縝密之中總有疏漏，過度的追求完善反而導向空乏。許多時候，最好的想法並非靠努力思考得來，而是某個當下突然浮現的靈光。在百密一疏中，藝術家捕捉到那偶然出現的縫隙。當然藝術並不是仰賴著這樣的偶然，只是在創作的過程，用盡全力試圖思慮的更加詳盡時，總是會有這樣的一絲間隙留下。 「點點頭」這個展名也帶有這層意涵。我們用點頭表示認可或打招呼，但有時候，這個動作只是出於放空，更甚是打起瞌睡。藝術的狀態也是如此——大部分時間，我們都在不斷「點頭」，認可既有的脈絡、觀念或形式。但真正打破慣性、超越既有框架的時刻，可能來自於那個「打瞌睡」的瞬間——短暫地脫離現實，不知不覺進入另一個狀態，甚至做了一個小夢。意識游離在別的空間或時間，而創作的靈光，往往就在這些游離的縫隙中閃現。 賴志盛希望他的創作能貼近這樣的狀態。這次的現地製作作品，就是從一個很偶然的經驗出發：賴志盛近期搬至台南，發現當網路訊號不佳時，相簿縮圖會在載入中呈現出色彩對比分明、層層堆疊的鋸齒狀色塊，一種未完成的視覺狀態。他將這種視覺狀態轉化為創作元素，在全空的展間白牆上，以三種不同灰度的油漆繪製出普遍當代展覽打燈的光影。這些燈光原本是為了強化作品而存在，如今卻成為主體，像是螢幕長時間使用後留下的烙印，停留著一個仍在開啟中的情境。 除此之外，展覽還包含兩個系列的平面繪畫作品。 第一個系列起源於疫情時期。當時，因搬遷或隔離，未完成的畫作被放入半透明拉鍊袋中保護。透過袋子觀看時，顏色變得稀薄，形體與質感也產生一種被包覆感，使「未完成」成為觀看經驗的一部分。另一則是賴志盛在畫布上反覆繪製，保留顏料的肌理，並在畫布周圍與中心刻意留下最後一道待完成的收尾留白，使畫面處於一種未竟的狀態，回應創作與觀看之間的延續性。 。。。。。 About Exhibition "Nodding" is often signifying approval, agreement, or greeting, but sometimes it can simply be a moment of zoning out... In daily life, concentrating and distracted coexist. Just as there is always omission in meticulousness, an excessive pursuit of perfection often causes a defect. When the artist exerts all their effort to think more thoroughly, there are always small gaps that remain. In these moments of oversight, the artist captures the occasional gaps that emerge, from which allow a sudden flash of inspiration to appear. The title "Nod" also carries this meaning. We nod to show approval or greet someone, but sometimes, we are just daydreaming or even dozing off. Art also situates in a similar position—most of the time, we are constantly "nodding", agreeing to contexts, ideas, or norms. However, the moment of breaking free from routine and surpassing existing frameworks might come from that moment of sauntering—a brief escape from reality, unwittingly entering another state, perhaps even dazing. Consciousness drifts to another space or time, and the inspiration for creation often flashes in these drifting gaps. Lai Chih-Sheng hopes his works resonate with this kind of state. The site-specific works in this exhibition originate from a random experience: Lai recently moved to countryside and noticed that when the internet signal was weak, thumbnail images in albums would display sharp, contrasting, and layered jagged color blocks, representing an unfinished visual state. He transformed this visual state into an element of his creation, reflecting on the lighting typically installed in contemporary exhibitions. The artist uses three different shades of gray paint on the empty wall to simulate the light and shadow. These lighting usually existed to enhance the artworks but have now become the main subject, like the imprint left on a screen after prolonged use, retaining a sense of an ongoing situation. Moreover, the artist will present two other series of his paintings work. The first series originated during the pandemic. At that time, due to moving or quarantine, unfinished paintings were stored in semi-transparent zip-lock bags for protection. When viewed through the bag, the colors appeared thin, and the shapes and textures being enveloped, draw in people’s attention to observe, making the part of "unfinished" become a different viewing experience. The other series involves Lai repeatedly painting on the canvas, preserving the texture of the paint, and deliberately leaving an unpainted area at the brink and the middle of the canvas as the final finishing touch. This creates a sense of eternal, responding to the continuity between creation and viewing. |