展期 2009/6/13-7/19
開幕茶會6/13 15:00
展覽地點 鳳甲美術館
台北市北投區大業路166號11樓
淡水奇岩站（三合街出口左轉，沿路步行至大業路後左轉，步行約五分鐘）
2009年6月2日 星期二
2009年5月5日 星期二
every frame / 台南 K'S ART當代藝術空間 2009 05/09-2009 06/06
台南 K'S ART當代藝術空間
展期 2009 05/09-2009 06/06
開幕 2009 05/09pm3:30
台南市中西區開山路122巷36弄19號
(府中街97號巷內)06-2215256
展覽文字說明 /黃嘉寧
當我繪畫時，對自己將如何決定或選取某個題材會感到有趣及困惑，因為我沒有一定的判準有時隨意亂拍，透過相機框取生活裡不經意、偶然的事物，如同先於腦海的影像，感知被召喚了，某些感受被觸動了，這時的我是個接收者；有時影像來自腦海，藉由事物鋪陳擺設，我企圖呈現某些自身當下的狀態或感覺的片段。──摘自2007創作自述
關於題材來說，一開始我只是毫無二致的描繪出照片中的訊息，然後我發現就算是畫一張平凡普通的照片也已經不同，但也不全然是這樣。
不起眼、拍壞的照片除了成為繪畫之外，對我來說還有一種吸引力，那就是當我去想像一張照片成為一幅繪畫這個想像的本身，我要用我的畫筆去製造出看似已被形象侷限了的意外效果。
現今如何凝視框框以內的東西？在現實生活中充滿太多目不暇給讓我飽到一點都不想再看，那我為何還要看？如何看？我漫不經心的瞄著，無所謂主題好與壞，所有的素材都透過眼睛的餘光投射出某處空缺或空間……我不需要看，相機至少比我還會看，透過這個有限的觀景窗偶而也捕捉到一些美好或意外的事物，我只需要靜靜等待。
有時覺得〝看〞像是被馴服成一種辨識，我並不想讓自己的作品只是被等待辨識為何物，而形象是重要的，它就像一個矛盾的焦距，讓不同的模糊事物之間有了一些層次和空間。
現階段我想以這樣不經意的瞄及有限制的瞧，試著去想像某種凝視，然後凝視那個可能的想像……
When I paint, how to decide or choose a subject is both interesting and confusing. I do not have certain criteria. Sometimes I take photos randomly. My camera seizes occasional, casual moments in daily life. It’s like the images that have appeared in my mind come true in reality, my perception is called upon, or a part of me is touched. At that moment, I am a receptor. Sometimes the images come from my mind. Through the arrangement of things, I attempt to express myself at the moment or some fragments of my feelings. – Taken from Self-account of Creation 2007.
As far as the subject is concerned, at first I copied the messages in a picture to a painting in the way exactly as they were represented. Then I found out even rendering an ordinary picture into painting would have made it different in the first place, but it was not necessarily so either.
Besides being turned into a painting, an unexciting or bad picture also appeals to me in a certain way; that is, when I imagine a picture being turned into a painting, I will also have to create unexpected effects outside those that are seemingly limited by its appearance.
Now how do I gaze into things within a frame? There is so much to see in reality that I am bored with it. Then why do I keep looking? And how? I look carelessly whether they are good or bad subjects. Out of the corner of my eye, every material reflects some voidness or room… I don’t need to look at all. The camera looks better than I do. Through this small viewfinder some wonderful or unexpected things can be captured now and then. I only need to wait quietly.
Sometimes I feel that “looking” is being trained into recognizing. I don’t want my artworks to become things that await to be recognized. An image is important. It’s like a contradictory focal length, allowing space and stages among ambiguous things.
For now I’d like to see casually and look within limits. I’ll try to imagine a certain kind of gazing and gaze that possible image…
關於題材來說，一開始我只是毫無二致的描繪出照片中的訊息，然後我發現就算是畫一張平凡普通的照片也已經不同，但也不全然是這樣。
不起眼、拍壞的照片除了成為繪畫之外，對我來說還有一種吸引力，那就是當我去想像一張照片成為一幅繪畫這個想像的本身，我要用我的畫筆去製造出看似已被形象侷限了的意外效果。
現今如何凝視框框以內的東西？在現實生活中充滿太多目不暇給讓我飽到一點都不想再看，那我為何還要看？如何看？我漫不經心的瞄著，無所謂主題好與壞，所有的素材都透過眼睛的餘光投射出某處空缺或空間……我不需要看，相機至少比我還會看，透過這個有限的觀景窗偶而也捕捉到一些美好或意外的事物，我只需要靜靜等待。
有時覺得〝看〞像是被馴服成一種辨識，我並不想讓自己的作品只是被等待辨識為何物，而形象是重要的，它就像一個矛盾的焦距，讓不同的模糊事物之間有了一些層次和空間。
現階段我想以這樣不經意的瞄及有限制的瞧，試著去想像某種凝視，然後凝視那個可能的想像……
When I paint, how to decide or choose a subject is both interesting and confusing. I do not have certain criteria. Sometimes I take photos randomly. My camera seizes occasional, casual moments in daily life. It’s like the images that have appeared in my mind come true in reality, my perception is called upon, or a part of me is touched. At that moment, I am a receptor. Sometimes the images come from my mind. Through the arrangement of things, I attempt to express myself at the moment or some fragments of my feelings. – Taken from Self-account of Creation 2007.
As far as the subject is concerned, at first I copied the messages in a picture to a painting in the way exactly as they were represented. Then I found out even rendering an ordinary picture into painting would have made it different in the first place, but it was not necessarily so either.
Besides being turned into a painting, an unexciting or bad picture also appeals to me in a certain way; that is, when I imagine a picture being turned into a painting, I will also have to create unexpected effects outside those that are seemingly limited by its appearance.
Now how do I gaze into things within a frame? There is so much to see in reality that I am bored with it. Then why do I keep looking? And how? I look carelessly whether they are good or bad subjects. Out of the corner of my eye, every material reflects some voidness or room… I don’t need to look at all. The camera looks better than I do. Through this small viewfinder some wonderful or unexpected things can be captured now and then. I only need to wait quietly.
Sometimes I feel that “looking” is being trained into recognizing. I don’t want my artworks to become things that await to be recognized. An image is important. It’s like a contradictory focal length, allowing space and stages among ambiguous things.
For now I’d like to see casually and look within limits. I’ll try to imagine a certain kind of gazing and gaze that possible image…
關於every frame展覽構想
Every frame
構想來自播放影像軟體時間軸的概念，在時間軸裡的每個影格（FRAME）相當於一個畫面或一張圖，當播放影片時，時間軸其實只是順序的顯示出每個影格中的內容。然而在我的展覽中作品所要呈現的則與序列或時間無關，我所製作的每一幅作品它是各自獨立的時空歷程，每一幅畫面都是直覺與想法的綻放場域，我所認為的每一格包含了這些呈現出來的以及那些沒有畫出的，這樣它們才完整。
My idea came from the concept of timeline in video software. Every frame on the timeline is an image or a picture. When a video is played, the timeline shows the picture of every frame in sequence. However, in my exhibition the artworks are presented in a way that is not related to sequence or time. Every piece of work represents an independent experience of time and space. Every picture is a place for intuition and thoughts to blossom. I consider every frame contains what is represented and what is not, which makes them complete.
構想來自播放影像軟體時間軸的概念，在時間軸裡的每個影格（FRAME）相當於一個畫面或一張圖，當播放影片時，時間軸其實只是順序的顯示出每個影格中的內容。然而在我的展覽中作品所要呈現的則與序列或時間無關，我所製作的每一幅作品它是各自獨立的時空歷程，每一幅畫面都是直覺與想法的綻放場域，我所認為的每一格包含了這些呈現出來的以及那些沒有畫出的，這樣它們才完整。
My idea came from the concept of timeline in video software. Every frame on the timeline is an image or a picture. When a video is played, the timeline shows the picture of every frame in sequence. However, in my exhibition the artworks are presented in a way that is not related to sequence or time. Every piece of work represents an independent experience of time and space. Every picture is a place for intuition and thoughts to blossom. I consider every frame contains what is represented and what is not, which makes them complete.
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