全景 Panorama
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李傑 個展
Lee Kit solo exhibition 2025 / 11 / 01 - 2025 / 12 / 27 |
開幕 Opening | 2025 / 11 / 01 (六) Sat. 2 pm |
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展覽簡介
留在家中，嘗試一些不一樣的事情；一臉凝重地思考；告訴自己，做得很好。 有時候，過度分享是一種病。當他公然、認真地表達自己的時候，好像會把炸春卷誤以為是煮黃瓜。 他曾經認為自己受了很多傷害，渴求同情，希望不要被誤解，盲目得幾近失去了同理心。他或許不自知，以為放鬆自在，不自覺地變得小心翼翼。他開始精心設計迴路，越來越享受其計算和預料中的呼吸。他很想描繪出心裡的全景，其實只不過是另一片局部的風景。風光不如畫，其實遍地碎片。有時候，風景裡還有他自滿的微笑。然後他漸漸地變得快樂了，心裡只剩風景。 不是所有創傷都需要被了解和原諒的。風光如畫。——李傑 李傑的創作橫跨繪畫、投影、錄像與裝置等多重媒材，透過現成物、光線與文字的細膩組合，將「空間」與「展覽」視為一件完整的作品。他以一貫的敏銳與節制，將思緒的起伏投射於現成物與牆面之間，讓影像、文字與聲音彼此滲透，建立起一種介於私密與公共之間的感知場域。
繪畫作品部分，有別於以往在瓦愣紙、木質砧板以平塗方式作畫，近兩年間，藝術家以噴漆、不鏽鋼板為創作媒材，發展出新的繪畫形式。以及需要控制的手法在不鏽鋼板上噴塗出層次、厚薄、多彩形似不同時間、氣候的天空繪畫。由於不鏽鋼的材質特性，在觀看作品同時，觀者也將不經意地看見自身反射於作品上。 影像部分則由藝術家親自拍攝與從網路蒐集的現成素材組成，經由他重新編輯、轉化後，投影於固定在牆面、木框上的不織布地毯，以及膠帶交錯構成的大面積牆面上。 投影於不同材質之上，使影像產生了兩種截然不同的質感：膠帶反光而銳利明亮，不織布則吸光而霧化。 李傑將這些在佈展過程中偶然發現的材質特性，視為創作筆觸般的存在，用以構築空間畫布。這種光影的質感轉換，讓他聯想到古典繪畫中畫家以凡尼斯（Varnish）凸顯畫面重點的方式：亮面與霧面的對比，使畫面產生層次與呼吸。 。。。。。
About Exhibition
Stay home, try something different; think with a solemn look; tell yourself you did well. Sometimes, oversharing is an illness. When he speaks about himself openly and earnestly, it’s as if he might mistake a fried spring roll for a boiled cucumber. He once believed he’d been hurt a lot—craving sympathy, hoping not to be misunderstood—so blindly that he nearly lost his empathy. He might not even know it, thinking he wasrelaxed and at ease, while unconsciously growing cautious. He began to map out his line ofthought meticulously, taking more and more pleasure in each calculated, anticipated breath. He wanted to sketch a full panorama of his heart, but it was only ever another partial view. The splendor is less than a painting; in truth, the ground is strewn with fragments. Sometimes, within the scenery, you can even catch his self-satisfied smile. Gradually, he became happier. Inside, only the scenery remained. Not every wound needs to be understood and forgiven. Picture-perfect scenery. — Lee Kit Lee Kit’s practice spans painting, projection, video, and installation. Through the delicate interplay of found objects, light, and text, he treats “space” and “exhibition” as a unified work. With his characteristic sensitivity and restraint, he projects the fluctuations of thought between objects and walls, allowing images, words, and sounds to permeate each other and form a perceptual field between the private and the public.
In his recent paintings, Lee departs from his earlier use of corrugated cardboard and wooden boards with flat applications of paint. Over the past two years, he has developed a new painterly approach using spray paint on stainless steel panels. Employing a highly controlled technique, he layers colors and transparencies to evoke skies of varying time and climate. Due to the reflective nature of stainless steel, viewers inadvertently see their own reflections within the work as they look. The video works combine footage shot with found materials gathered online. After editing and transforming them, Lee projects the images onto surfaces such as non-woven carpet fixed to walls and frames, and large expanses of interlaced tape constructions. These distinct materials produce two sharply contrasting visual textures: the tape reflects light sharply and brightly, while the non-woven surface absorbs light into a soft haze. Lee regards these material discoveries, often encountered by chance during installation, as equivalent to painterly brushstrokes—tools for constructing his spatial canvas. The shifting texture of light and shadow recalls the technique of varnish in classical painting, where gloss and matte areas highlight compositional focus, creating layers and breath within the image. |