展覽日期 Date｜2021/12/1 (Wed.) -2022/1/9 (Sun.)
開幕茶會 Opening｜2021/12/4 (Sat.) 15:00
座談時間 Forum｜2021/12/4 (Sat.) 15:30-17:30
與談人 Guest｜王品驊 Pin-Hua Wang
地點 Venue｜絕對空間一樓 The first floor of Absolute Space for the Arts

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｜展覽論述 Statement｜

這次展覽，我透過作品試圖在尋找影像與邊界間的關係。邊界之於影像的內，如同開窗看見遠方的山巒，漫漫山影與淡淡藍天間是被陽光照得發亮的稜線，你當下所看到得是可控的 ; 之於影像的外，則是你發覺影像與觀者間的空氣並不流通，那裡有條讓zoom in延遲的邊界。

「有時候，鏡面增加事物的價值，有時候又否定了價值。在鏡子外看似有價值的每件事物，映照在鏡子中時，不見得能夠維持原有的力量。」

我的作品透過鏡射及物件的複製來對觀者所見到的視覺影像進行重複及切分，使觀者的視覺不斷地被切斷，物件與影像間的連結不再是「平行輸入」，而是必須透過視線移動來重組物件的原貌。在重組過程中所產生的間隙是我感興趣的，是對物件本體與拼貼的對照，也是影像與鏡像間的曖昧狀態。在場域中，觀者對物件影像的時間及空間的再造，身體也因鏡射成為影像的一部份，強化了影像與物件邊界的存在。我在這裡，不在那裡，這是自己觀看的證明。

陸地與海洋的交界是由白色浪花與金黃色細砂所描繪出的海岸線，沒有深藍的海流與黝黑的原石，隨著潮汐與氣候，白色與金黃色交疊混合，邊界也不斷地游移、顯現與消解。

In this exhibition, I seek to understand the relationship between an image and itsmargin. An image within the margin is like a glimpse of the mountain afar out of the open window. Far away in the distance, the shapes and shades of the mountain accentuate the beaming crestline beneath the pale blue sky. And yet, what you see is framed by the margin; therefore, you will find the air to be somewhat stagnant between the scene and its viewer due to the margin that postpones the visual experience from zooming in.

“Sometimes, mirroring adds value to an object; however, it can also be the other way around. Not every reflection maintains an object’s original intensity in the mirror.”

Through mirroring and replicating objects, I am trying to repeat and segment the visual images seen by the viewers. With constant interventions of visions, images are no longer the “parallel inputs” of objects; instead, the viewers will have to move to reconstruct the original images. I’m particularly interested in the gap created during
this rearrangement. In between the actual object and the rearranged image lies a subtle connection, which resembles the relationship between a subject and its mirroring image. In the room, the viewers will reconstruct the time and space concerning the objects. As their bodies become part of the images through the mirroring effect, this shall highlight the margin between images and objects. Through looking into the mirroring reflection, the viewers shall be able to stand their ground and prove: “I am right here, not in there.”

The boundary between the land and the sea is marked by the white spindrifts and the fine golden sand. There lies neither the currents down in the deep blue sea, nor the coal-black ores from the earth; instead, the weather and the tides lead the overlapping and blending of white and gold, creating a constant shift, emergence, and fall of margins.

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【關於陳肇彤｜About Chao-Tung Chen】

1991年出生於臺灣臺南。
近期的創作以緩慢且透過轉譯的姿態，試圖來回應當今資訊網絡的快速與科技高度發展的絕對。我創作上的緩慢非關速度，而是在過程中安插經過轉譯的間隙，原本直線式的思路變成迂迴曲折的模式，使得約定俗成的視覺經驗不再有效。在緩慢的間隙中，反而產生了歧異的路徑、意義上的誤讀或徒勞的荒謬狀態，我在這種落拍的間隙中尋找與當代的果斷和迅速對話的可能性。

Born in 1991,Tainan, Taiwan
In response to the ultra-high speed of networks and the absoluteness of advanced technological development today, I have been experimenting with a slow creation mode in my recent artworks through translation. This does not mean I create at a slow speed, but rather I have been incorporating an additional step of translation into my creation process. Accordingly, the original linear line of thought has transformed into a tortuous, non-linear model, which renders the conventional visual experience ineffective. During leisurely-paced translation, a divergent path, a misinterpretation of meaning or an absurd state of futileness arises instead. I have been searching for a possibility of opening a dialogue with the decisiveness and swiftness of modern times through such zigzagging, unhurried translation processes.

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主辦單位｜絕對空間
空間營運贊助｜國藝會
展覽贊助｜臺南市政府文化局