World Mystery - Wang Tin-yu Solo Exhibition
世界之謎- 王挺宇個展
2009/07/04~2009/09/01
世界之謎- 王挺宇個展
2009/07/04~2009/09/01
”World Mystery” is a series of scenery paintings characterized with spectacle flavor. Of “spectacle” indicated here it refers to the pun of double meaning for it will, on hand one, tell about the natural spectacle as demonstrated with the paintings, while it will also refer to the space reincarnation as summoned by the media.
The so-called media can be represented by the gossip magazine and network image which are the sources that I extract images, and while it is the image of human figures that I concern the most. Through the collection behavior of massive images and human gestures as conveyed through observation, we can have viewed about the perspective of scene-taking of media “habit,” for instances, the images of human figures of individuals who are about to enter and leave certain venue, the means of transportation of arrival and departure, ways of holding baby, or action so much similar to a buffoon. With tailoring that accommodates to page layout or window, the small view-observation window can, under the fabrication of media, have become the only way that helps to appreciate the authentic façade of this world, and that is the dinning world as construed by those individuals after heterization. As such, it is exactly through such process that media has helped replaced our eyes so that the world reincarnated has become the one we have acknowledge and experienced
However, among my paintings what is described is genuinely the natural “spectacle” (unthinkable events) people have learned about, while those human figures are being endowed with shadow of four limbs as tailored from gossip magazine or network media as they have seemingly accomplished the gestures they are supposed to be (maybe). Thus, they can stand in my new world I have created as gestalt, which is truly “authentic” world mystery. Under such context of wonderful site, it has rendered human figures hidden so that though they are images occurred as categorized into different time and locations their gestures of “cooperation” have completed another inner spectacle from the world as evoked from images.
In terms of forms, it is given the “appearance” of painting style as surrealism for the location human figures being installed seems to be like a certain corner of the world; it is a bit like the holy land for tourism, or somewhat like a disaster-stricken area, while some have been awarded with certain form of ritual. The construction o f such domain of spectacle is, actually, being initiated from the subjectivity of the creator who has, through incomplete tailoring of human figures, fill up the missing description with his own imagination, and it also seems to tell as metaphor the real subjectivity as genuinely indicated with our desire, which is exactly the missing story of the description. As for my job, it is simply like the general function of mass media, while media are the extension of ourselves, and what I do is merely the re-extension upon media extension. In such a way, the others (part of forgotten one with human extension) that are separated after media anaesthetization have been re-conducted with some kind of connection surgery with imagination.
As from the perspective of viewers, it is considered as the natural spectacle integrated with human figures and “pseudo-nature” with some form of falsification. And for the expression of such single material as oil painting, it is capable to have created “seamless” synthetization, and it can, as a whole, appear to be like a sketch of painting worked out from a natural scenery. Nonetheless, we can find some rather unreasonable perspective with the natural scenery displayed for the scenery is, in order to cope with human figures as sketched from image, more similar to the space of Chinese painting with mountains and waters as it is conducted with measures that object is created large in short distance and vice versa.
It is quite difficult for one to explain with the world created from imagination. Furthermore, the image pictures I have searched from network have, on one hand, attempted to explicate the world in the painting, and they have, on the other hand, used images to indicate mere scenery, while another form of emptying is being implemented upon the human figures in the painting. Therefore, it appears that human figures from these images are enhanced to certain existential significance a priori, while such significance has, in some way, echoed to the universality of image of human figures as found in the world of media.
We have always said, “When man is given birth to this world,…,” it seems to tell that the world has been in existence before mankind in our unconsciousness or in our concept of recognition. However, when the era of pictorial times has come such a priori belief has been exposed to challenge for the construction and demolish of the world has been so drastically fast, just like Mobius loop, and there will be eternally be an unsolvable answer, ending up as a puzzle. The series of works in “World Mystery” will, as re-demonstrated, appear to be like the characterization of mysterious spectacle, and even so, it is doomed to be discussions of mystery of recurring rise and extinguish from the world of images.
文/王挺宇
《世界之謎》系列是一連串描繪奇觀(spectacle)色彩的風景畫作。在此所指的「奇觀」語帶雙關，一指的是畫面內容所呈現的自然奇觀，其次是媒體所召喚的再現空間。
所謂的媒體，以我所擷取影像來源的八卦雜誌與網路影像為代表，在這之中我所關注的是人的形像。透過大量的影像收集行為，並經由觀察其中所傳達的人物姿態，且能一窺媒體「習慣」的取景角度，譬如：正要進出某個場所、進出交通工具、抱小孩或是醜態百出的人物形像。透過為了符合頁面或視窗的剪裁──那小小的觀景窗，居然在媒體的杜撰之下，而成為我們了解這個世界真實面貌的唯一方式。那是經過異化的人們，所建構出來的喧鬧奇觀。那正是媒體代替了我們的眼，使我們認知與見識到的──那個經由再現的世界。
然而，在我的繪畫當中，描寫的卻是千真萬確人們所認知的自然「奇觀」(不可思議的事物)，那些經由八卦或網路媒體裁切的人物，在畫中我賦予他們手足、影子，似乎完成了他們本該完成的姿態(也許)。這樣的「完型」(gestalt)立足在我所建立的新世界，那是一個「真實」的世界奇觀。在這樣的奇妙景觀之下，將人物隱匿安置其中，他們雖然本分屬不同時間與地點所發生的影像，但他們「合作」的態勢，在畫面所召喚出來的世界完成了另一種內在奇觀。
在形式上，具有超現實主義的「表象」畫風，人物被置入的地點，似乎像是地球上的某個角落，有的像是觀光聖地，有的像是災區，有的卻被賦予了某種儀式。這般奇觀場域的構成，便以作者的主體為出發，藉由不完整的人物剪報，將那缺失的敘述以自己的幻想來填滿，似乎也隱喻著我們慾望真正所指的主體，便是那失卻的那一篇敘事。而我的工作就如同大眾媒體的作用一般，媒體是我們的延伸，我做的是媒體延伸的再延伸。藉此將被媒體麻醉而分離出去的他者(人的延伸卻被遺忘的部份)，以想像而重新做了某種的接駁手術。
但就對觀者而言，基本上為人物及某種偽造出來的「假自然」所組成的自然奇觀；以油畫此種單一材質表現來說，在視覺上更能夠做到「無縫」合成，整體看來就像是面對著一處自然風景作畫的寫生下來。但所呈現出來的風景卻有著不合理的透視，為了配合從影像描繪而來的人物，這樣的風景反而比較像是中國山水畫的空間，使用近大遠小的方式來處裡。
想像出來的世界，似乎無法解釋，我使用網路搜尋而來的影像圖片，一方面試圖解釋畫中的世界，另一方面使用影像來指涉的只單單針對風景，而對畫中的人物進行了另外一種架空，似乎將這些從影像而來的人物，提高到某種原先就存在的意味，而這樣的意味，也回應著人物形象在媒體世界中的共通性。
我們常常會說「人到這個世界來……」似乎在潛意識中或我們的認知裡，世界是先於人而存在。但圖式化時代的來臨，此種先驗的觀念逐漸面臨挑戰，世界的建構與瓦解異常快速，像莫比烏斯迴圈一樣，永遠是個無解的答案，終究是個謎。《世界之謎》系列作品，再呈現上看起來就像是描繪一個謎樣的奇觀，但終究仍在討論影像世界的生滅之謎。
The so-called media can be represented by the gossip magazine and network image which are the sources that I extract images, and while it is the image of human figures that I concern the most. Through the collection behavior of massive images and human gestures as conveyed through observation, we can have viewed about the perspective of scene-taking of media “habit,” for instances, the images of human figures of individuals who are about to enter and leave certain venue, the means of transportation of arrival and departure, ways of holding baby, or action so much similar to a buffoon. With tailoring that accommodates to page layout or window, the small view-observation window can, under the fabrication of media, have become the only way that helps to appreciate the authentic façade of this world, and that is the dinning world as construed by those individuals after heterization. As such, it is exactly through such process that media has helped replaced our eyes so that the world reincarnated has become the one we have acknowledge and experienced
However, among my paintings what is described is genuinely the natural “spectacle” (unthinkable events) people have learned about, while those human figures are being endowed with shadow of four limbs as tailored from gossip magazine or network media as they have seemingly accomplished the gestures they are supposed to be (maybe). Thus, they can stand in my new world I have created as gestalt, which is truly “authentic” world mystery. Under such context of wonderful site, it has rendered human figures hidden so that though they are images occurred as categorized into different time and locations their gestures of “cooperation” have completed another inner spectacle from the world as evoked from images.
In terms of forms, it is given the “appearance” of painting style as surrealism for the location human figures being installed seems to be like a certain corner of the world; it is a bit like the holy land for tourism, or somewhat like a disaster-stricken area, while some have been awarded with certain form of ritual. The construction o f such domain of spectacle is, actually, being initiated from the subjectivity of the creator who has, through incomplete tailoring of human figures, fill up the missing description with his own imagination, and it also seems to tell as metaphor the real subjectivity as genuinely indicated with our desire, which is exactly the missing story of the description. As for my job, it is simply like the general function of mass media, while media are the extension of ourselves, and what I do is merely the re-extension upon media extension. In such a way, the others (part of forgotten one with human extension) that are separated after media anaesthetization have been re-conducted with some kind of connection surgery with imagination.
As from the perspective of viewers, it is considered as the natural spectacle integrated with human figures and “pseudo-nature” with some form of falsification. And for the expression of such single material as oil painting, it is capable to have created “seamless” synthetization, and it can, as a whole, appear to be like a sketch of painting worked out from a natural scenery. Nonetheless, we can find some rather unreasonable perspective with the natural scenery displayed for the scenery is, in order to cope with human figures as sketched from image, more similar to the space of Chinese painting with mountains and waters as it is conducted with measures that object is created large in short distance and vice versa.
It is quite difficult for one to explain with the world created from imagination. Furthermore, the image pictures I have searched from network have, on one hand, attempted to explicate the world in the painting, and they have, on the other hand, used images to indicate mere scenery, while another form of emptying is being implemented upon the human figures in the painting. Therefore, it appears that human figures from these images are enhanced to certain existential significance a priori, while such significance has, in some way, echoed to the universality of image of human figures as found in the world of media.
We have always said, “When man is given birth to this world,…,” it seems to tell that the world has been in existence before mankind in our unconsciousness or in our concept of recognition. However, when the era of pictorial times has come such a priori belief has been exposed to challenge for the construction and demolish of the world has been so drastically fast, just like Mobius loop, and there will be eternally be an unsolvable answer, ending up as a puzzle. The series of works in “World Mystery” will, as re-demonstrated, appear to be like the characterization of mysterious spectacle, and even so, it is doomed to be discussions of mystery of recurring rise and extinguish from the world of images.
文/王挺宇
《世界之謎》系列是一連串描繪奇觀(spectacle)色彩的風景畫作。在此所指的「奇觀」語帶雙關，一指的是畫面內容所呈現的自然奇觀，其次是媒體所召喚的再現空間。
所謂的媒體，以我所擷取影像來源的八卦雜誌與網路影像為代表，在這之中我所關注的是人的形像。透過大量的影像收集行為，並經由觀察其中所傳達的人物姿態，且能一窺媒體「習慣」的取景角度，譬如：正要進出某個場所、進出交通工具、抱小孩或是醜態百出的人物形像。透過為了符合頁面或視窗的剪裁──那小小的觀景窗，居然在媒體的杜撰之下，而成為我們了解這個世界真實面貌的唯一方式。那是經過異化的人們，所建構出來的喧鬧奇觀。那正是媒體代替了我們的眼，使我們認知與見識到的──那個經由再現的世界。
然而，在我的繪畫當中，描寫的卻是千真萬確人們所認知的自然「奇觀」(不可思議的事物)，那些經由八卦或網路媒體裁切的人物，在畫中我賦予他們手足、影子，似乎完成了他們本該完成的姿態(也許)。這樣的「完型」(gestalt)立足在我所建立的新世界，那是一個「真實」的世界奇觀。在這樣的奇妙景觀之下，將人物隱匿安置其中，他們雖然本分屬不同時間與地點所發生的影像，但他們「合作」的態勢，在畫面所召喚出來的世界完成了另一種內在奇觀。
在形式上，具有超現實主義的「表象」畫風，人物被置入的地點，似乎像是地球上的某個角落，有的像是觀光聖地，有的像是災區，有的卻被賦予了某種儀式。這般奇觀場域的構成，便以作者的主體為出發，藉由不完整的人物剪報，將那缺失的敘述以自己的幻想來填滿，似乎也隱喻著我們慾望真正所指的主體，便是那失卻的那一篇敘事。而我的工作就如同大眾媒體的作用一般，媒體是我們的延伸，我做的是媒體延伸的再延伸。藉此將被媒體麻醉而分離出去的他者(人的延伸卻被遺忘的部份)，以想像而重新做了某種的接駁手術。
但就對觀者而言，基本上為人物及某種偽造出來的「假自然」所組成的自然奇觀；以油畫此種單一材質表現來說，在視覺上更能夠做到「無縫」合成，整體看來就像是面對著一處自然風景作畫的寫生下來。但所呈現出來的風景卻有著不合理的透視，為了配合從影像描繪而來的人物，這樣的風景反而比較像是中國山水畫的空間，使用近大遠小的方式來處裡。
想像出來的世界，似乎無法解釋，我使用網路搜尋而來的影像圖片，一方面試圖解釋畫中的世界，另一方面使用影像來指涉的只單單針對風景，而對畫中的人物進行了另外一種架空，似乎將這些從影像而來的人物，提高到某種原先就存在的意味，而這樣的意味，也回應著人物形象在媒體世界中的共通性。
我們常常會說「人到這個世界來……」似乎在潛意識中或我們的認知裡，世界是先於人而存在。但圖式化時代的來臨，此種先驗的觀念逐漸面臨挑戰，世界的建構與瓦解異常快速，像莫比烏斯迴圈一樣，永遠是個無解的答案，終究是個謎。《世界之謎》系列作品，再呈現上看起來就像是描繪一個謎樣的奇觀，但終究仍在討論影像世界的生滅之謎。