Work 作品

 Rustic Mountain that Overturns Life

 With daily advances in technology, the contemporary environment is yet so fickle and unreal and life is so full of uncertainty and the unknown. What is important is to locate your own mountain in life, turn a new leaf, overturn your life, find your own strength and value in life, and learn to see joy in hardships, to love, to forgive, and to serve. The artist turns a crushed three-dimensional mountain into a stereoscopic relief. This is a mountain of life, a mountain with markings and traces in life, whether it be mountain ascension or descension. The Three-Legged Dish is a royal ceremonial vessel, originally embedded with the meaning of solid foundation. Upon first look at the vessel being turned upside down, its invincible solid tenacity is amplified. The essence of traditional Eastern culture lies in the forming of firm foundations. What is interpreted on the vessel are stereoscopic relief patterns and flat painting combined to record the tracings of contemporary trends, vogues, and brands. The juxtaposition of an ancient Oriental ceremonial vessel and Western modern technology forms an inner psychological space where the discrepancy of the far and the near, the difference of the ancient and the contemporary, the true and the false can all co-exist. Whether in existence or in void, whether far or near, old or new, is this a physical space that highlights the deep and the shallow, or a virtual space being left adrift? As such, the expansive sensation of peace and quiet, borne out of traditional forms in their various traditional perspectives, comes to an alternative correspondence with virtual drifting of the modern coding. The question arises as to whether an alternative perspective can be available in contemplating whether these contemporary totems or images, after hundreds and thousands of years, will turn into a completely different set of inner dialectics presented by a different set of traditions. Such are the thousand splendid shapes of evolutionary truth, and so will the truthful and the virtual be crossing paths on this inch-sized canvas.

 The background is set against an outer circular shape and an inner square shape to represent the East’s typical behavioral conduct: to be erudite, polite, diplomatic and tactful in dealing with the outside world, while maintaining certain principles and persistence internally. The background pattern formed with the circular and square shapes represents the recurring and relentless turnovers in life. The consecutive and successive images render such effect of each singular circle going from self-revolving to connecting with the other circles in all directions to form the infinity sign, thus yielding the imagery and meaning of “turn-over”. The work, in its beginning stage of creation, is set out to return to the experience of one’s inner nature and to gently tap into the value of life. This embraces a simple, modest, and humble creative attitude, giving praise in the face of defects, staying gentle and romantic in times of hardships, attempting at exploring and plowing into one’s innermost psyche to truly experience the power of going with the flow of life. Such acts of reaching the summit by following the hill, metaphorically speaking, has become the rule of thumb for doing less to achieve more. When one holds no expectation and gives all he/she has, the most innocuous act will lead to most unexpected surprises and accomplishments, as has been the creation process for this piece of work.
  山璞 - 翻轉生命的山

 科技的日新月異,但當代的環境卻是如此的飄浮虛擬,生命充滿了未知與不確定,唯有找到自已生命的山,翻轉生命,翻轉人生,找到自己生命的力量與價值,學習在苦難中喜樂,去愛人,去原諒人,去服事人,才是最為重要。 作者將山壓成平面如立體浮雕的山,這是人生的山,不管是上山還是下山,是紀錄人生的山。三足之鼎乃王室禮器,原寓以根基穩固之意。乍看鼎翻轉成山,更顯其不可撼動之實。傳統東方文化精粹之處即成於穩實之基。鼎上所詮釋以立體浮雕紋飾與平面畫作結合記錄當代潮流、時尚、品牌..的紋路,東方古代禮器與西方近代科技形成一幅既有遠近之差、更顯古今之異又感虛實同生共存的心靈深度空間,這是「有」還是「無」?「遠」還是「近」?「舊」還是「新」?更顯真實空間深淺或是虛擬空間的漂浮?於是乎由不同角度傳統形式下產生的廣大安靜感受,與當代符碼的虛擬漂浮形成另一種對應,是否能夠透過不同傳統的角度去思考,這些當代的圖像過了百年千年之後是不是又是另一個傳統所呈現出更不同的內心辯證?萬千變化莫自於此。於是真實與虛幻就在這寸尺畫布之間交峰。

 背景以外圓內方圖形來代表東方人的處事知書達理與圓融,而內心的方正原則與堅持,透過方圓所形成的背景代表生命的生生不息與翻轉,利用連續圖形的效果,個體的圓除了自轉,亦從上下左右四方又連結成無限大(∞)的翻轉含義。 作品創作之初,即回歸內心本質的體驗與輕叩生命的價值,抱持著簡單含蓄謙卑的創作態度,在缺憾中讚美,在困頓中浪漫,試圖往內心深層根底探究,真正體驗順應生活的力量,靠山達頂(鼎)成為無為而治的行事依據。自然地放空自己而無所期待之時,無心插柳柳成蔭,反成就此作。