2006--2012
(including 13 pieces____包括13件作品)
installation, painting & mixed media___裝置，繪畫&混合媒材
Beginning with the contemplation of the “medium” – painting - I have explored the boundaries between media, between image carrier (canvas) and image, between artwork and exhibition place. Media are the starting point of my work. The standard function of the materials of traditional media has been transformed, presenting a paradoxical relationship between media and materials. There is also a reciprocal switching between media. From the appearance and the process of interaction between media, I am trying to explore the definition of the artworks, materials and media, and the connection between them. The expressive function of media will not be emphasized, but the boundaries of media themselves will be blurred, going further into examining the logic of the creation of artworks. These ambiguous relationships and phenomena will provide an environmental experience to promote profound introspection.
Without using the brush and colour, it employs the canvas - originally the image carrier - as the major material to create pictures. The marks made by movements and actions (for example, incising, unweaving, pasting and overlapping etc.) on the canvas are the components of images. Also, creation is not limited to the front of a “painting”; the back of the painting and canvas are equally important. Similarly, painting is no longer confined to a plane surface; the three dimensions and depth of an image are no more an illusion, but substantially occupy the available space. The white image places the work in a state of ambiguity – whether it is a completed painting or a carrier awaiting the adding of lines, forms, and colours. Moreover, the white painting suggests that the work has extended from the scope of the frame to the white space of the exhibition venue, making it part of the work. This concept is further strengthened by the employment of white canvas to “draw” the architectural structures of the venue. It is needless to use the expressions of perspective and chiaroscuro to reconstruct shape and distance. A “real space”painting was created, enabling the audience to enter the work in person. It seeks to obscure the definition and boundary of artistic creation – painting is a painting, a sculpture, an installation and also an exhibition venue, which all are the art media carrying concepts.
由 2006年開始創作「畫是畫是畫是畫是…?」系列。直至現今，這個系列已包括十三套作品。
由對繪畫這一「媒體」的反思，進而探討媒體之間、圖像載體（畫布）和圖像之間、作品和展場之間的界限。由媒體切入，改變傳統媒體所使用的物料的本位功能，呈現媒體和材料之間似是如非的關係和媒體間互為轉換的觀念。由媒體相互作用的現象和過程，嘗試探索藝術作品、物料和媒體的定義，甚至，它們之間的關聯。著重的不是媒體的表現形式，而是模糊媒體自身的界限，進一步反思藝術創造的邏輯。這些曖昧的關係和現象也希望提供一個值得深思的環境經驗。
作品的畫面不用畫筆和顏色去描繪，並將原是圖像載體的畫布轉為創作的主要材料去製作圖像。對畫布進行各種的動作和行為（如切割、拆解、黏貼或重疊等）所留下的痕跡作為構成圖像的元素。創作不只限於「畫」的前面，背面和畫布的後面同樣重要。繪畫也不再只限於平面，畫面的立體和深度不再是幻景，而且是真實地佔據空間。白色的畫面將作品置於一種曖昧的狀態──是已完成的圖像或是等待畫上線條、形狀和顏色的載體。再者，白色繪畫還暗示著作品已由畫框範圍延伸到展場的白色空間，使之成為作品的一部分。這個概念再由白色畫布被運用去「描繪」展場內建築的結構而深化，不需要明暗和透視的表現方式去重現其形態和距離，創造一件「真實空間」的繪畫，容許觀眾親身進入到作品當中。作品模糊了藝術創作的定義和界線──畫是畫，是雕塑，是裝置，也是展場，都是作為承載理念的媒介。
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