池枻龍
CHIH YI-LONG
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2024.4.16(Tue.)-2024.6.26(Sat.)
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《永生狀態：龜背芋》，2023，絹印、現成物，130x90x40cm
當我開始使用「顯影」的角度來觀看這個世界時，我發現這個世界其實處處都是被隱藏起來的無形的版，我將版畫從物質的狀態昇華成傳遞觀念的媒介來看待，使版畫作為抽象思考的方式之一。
「無形的版」在抽象的意義中以兩種狀態被我使用：一種為傳遞本就無形的觀念。另一種是原本有形的物質，卻在作品中成為無形的樣貌，但卻可被觀眾意識的狀態。我透過版畫帶有的特殊屬性推演至現象學與認知論的範疇，思考關於版模與印象之間的相似性質，藉此模糊觀者對於現實與虛構之間的界線。
When I began to view the world from the perspective of “Developing", I discovered that this world is in fact filled with hidden intangible prints. I elevated printmaking from its material state to a medium for conveying ideas, treating prints as one of the methods for abstract thinking.
In an abstract sense, I employ the term “Invisible Matrix" in two states : one for conveying inherently intangible concepts. The other involves originally tangible materials, which take on an intangible appearance within the artwork but can still be grasped by the viewer’s awareness. Through the unique attributes inherent in printmaking, I extrapolate into the realms of phenomenology and epistemology, pondering the similarities between templates and impressions. In doing so, I blur the boundary between reality and fiction for the observer.
《君情豈將浮雲散》，2021，絹印、熱風槍，280x40cm
我透過作品命名、觀看形式、媒材特性、顯影方式等元素，構築觀看作品的空間情境，觀者並非單純透過視覺達到可居可遊的感知經驗，而是透過身體與現成物的直接接觸，對畫面進行具有身體感知的變動式觀看經驗。
對古典繪畫再復刻的過程，是試圖將從古至今，人們以山水作為對理想境地的探尋，從單純視覺上觀看平面繪畫的找尋，復刻成為必須透過身體的位移，經由操作來探尋畫面，加深在觀看過程中，觀者找尋過程的經驗。
Through approaches such as the naming of the work, the form of viewing, the property of the media, and the way of display, I construct a spatial context for viewers to experience the work. Viewers are to achieve the “livable" and “enjoyable" experience that, according to Guo Xi’s opinion, is a quality a good landscape painting should hold. In this work, viewers are not by visual perception alone but also through direct interaction of the body with the ready-made objects, acquiring an embodied experience with an ever-changing perspective.
The re-rendering of classical paintings is to transform the way people experience landscape paintings, a perspective that has been adopted since ancient times as a projection of the ideal place, from a purely visual experience of two-dimensional paintings into exploration through physical movement to deepen the experience by exploring the images through physical actions.
《烏晴・烏雨》，2022，絹印、壓克力彩，45x30cm
共2件
不同時間下觀察同一扇窗戶外的景色，發現畫面構成的元素都是相同的。一樣的堤岸，一樣的水波紋，改變的似乎只有光影經由時間變化而形成的不同的漸層色彩。人的存在對於這片風景來說是如此微不足道，無論世局如何變化，太陽映照在水面上的波紋都如出一徹。自然中亦存在許多不可見的運行法則。
在日復一日的場景中，我們過著吃、娛樂、睡的循環，規律的生活像「版」一樣，以時間作為墨，不斷印刷著相同的人生。透過此系列的作品，我思考「景色成為版，光陰成為墨」的可能。
As one look at the scenery through the same window at different times, one would find that the elements of composition remain consistent: The same bank, the same ripple of water, and the only thing that seems to have changed is the gradient of light and shade through time. The existence of human beings is so trivial to nature that no matter how the world changes its course, upon the water’s surface, ripples that reflect the sun follow the same patterns as it always was. The laws of nature are as invisible as they are innumerable.
In the day-to-day scenes, our quotidian life is merely a cycle of eating, entertaining, and sleeping. Our life is as regular as “matrices" in printmaking. We live our life like a matrix holding ink printing out the same life pattern over and over again. The works explore the possibility of “scenery becoming a matrix and time becoming trans-medium."
版畫人生
Life Under Social Norms
《懸吊》，2018，絹印、壓克力彩，400x160cm
8張100x80cm拼組
「沒有束縛的束縛」是來自人與人之間分工互動的結果，無論是位階的建立、制度的鞏固，那些無形中影響著社會進行的事物，是我所感興趣的部分，我們在不知不覺中踏入了這個被創建的遊戲規則，然後依循著規則走到一個我們自認為是頂點的高處，其實不過是在他人的掌控之中。我試著要以目前為止我所理解的這個世界的道理進行記錄，用類似箴言的手法，構成畫面中的人物演示出這個箴言。
“Unbounded bond" is a phenomenon caused by the division of labor and interaction amongst individuals. Whether it is the establishment of hierarchies or the consolidation of institutions, the invisible factors casting shadows over society are matters I am interested in. As we unknowingly stepped into the game we were set to play, following the rules, we reached a high ground we thought to have achieved on our own. As it turns out, we are still just in the scheme of others. I keep records of what I have understood so far about the world and crystallize them into an aphoristic depiction.
枻龍人
YI-LONG RAM
《同一個枻龍》，2015，FRP，60x40cm
10件可拼組
「枻龍人」這系列的作品是以腦海中的記憶作為創作素材，回想著記憶中人與人之間的相處經驗，並以風格強烈的人物作為畫面中寓意安排的演員，畫面中的人物本身並不具特定指認的對象，而是泛指我經歷過或觀察到的人際關係現象，以複製、排列、次序感等元素，在思考人、我關係的同時，也思考著關於複數、疊合、去個體化等由版畫觀念延伸出的問題。
The series of works “YI-LONG RAM" was created employing memories as material, recalling my experiences of human relations, featured by strongly stylized characters. The characters in the picture do not identify with a specific person but refer to the phenomena of human relations I have experienced or observed in general. Bearing the facets of duplication, alignment, and a sense of sequence, while thinking about the relationship between human beings and the self, I also ponder upon conceptual issues that extend from printmaking, such as repetition, overprinting, and deindividuation.
池枻龍 CHIH YI-LONG 