永 續

未 完 

The continuing life

Yi Ya Lee solo exhibition

 

2020.04.25-06.03

​孖空間 Zi space

《永續的未完》展覽為李宜亞的全新創作發表,從過去專注於曝光焦點的照相寫實,轉往更觸及自身的生命經驗,以及對於家屋的詮釋。正如新發表的「虛妄空間」系列,即是呼應《金剛經》中:「凡所有相,皆是虛妄。若見諸相非相,則見如來。」為自己一直以來的想望徘徊與霎那頓悟做了一番註解。

 

這次展出中,李宜亞首次嘗試將平面創作延伸至現場裝置,透過錄像裝置的「前言」再現搜尋、重組、拼貼的反覆過程,彷彿無止盡的填空只為處理置於心中未完的懸念:「黑影的輪廓像是被剪剩的雜誌本;而在剪裁後的輪廓之外,還剩下什麼?黑色剪影之間,又藏匿著什麼呢?」

我始終對於「完成式」沒有太大的感覺。

因父親經營家具工廠,我從小就在圍繞著工具、材料的環境下生活。工廠裡,經常看見未組裝完成的半成品、或者被塑膠模層層包裹等待出貨的家具,和父親辦公桌上、那四處散落著未定案的初稿。忙碌、龐雜的生活空間,是我小時候對於家的印象。在工廠裡,我經常想像這些包裹得精美的家具,到了新的空間會呈現什麼樣的表情?家具主人是何人、家具後續又怎麼被使用著...

一直以來,我都很享受想像的旅程,因此在個人創作裡,我呈現的是一個想像的虛構空間。這個空間不直接去陳述事物,或展現明確的意圖 — 而是將「完成式」轉化為「未完」的狀態。在草圖的準備中,我用剪刀裁取報章雜誌上那些精巧、為了被看見而被巧妙佈置的完美物體,我將它們安排在不同場域,組成一連串不合理、如同謎語的畫面,如:墜落的吊燈、窗外一角、樓梯、凌亂的書桌、桌面擺飾物、歪斜的畫作、鏡子......等等,這些指涉家庭物件的元素,原本看似合理,經過拼貼與空間配置,讓畫面充滿隱約的不安與虛假,讓畫面成為一場無止盡的詮釋遊戲。作品裡我也盡量保有切割的痕跡,強調拼貼圖片、剪貼輪廓的存在,搭配突兀的透視角度,物體的怪異透視、比例,又或者出現分割畫面,以及莫名的人工光線,造就一種冷靜的、但又不似照相寫實主義那樣如實的陳述,使場景呈現似真似假的空間。

這些幻境以紙張作為載體、油性粉彩作為表現,又因媒材本身與掌心、手指的緊密貼合,讓我在運用上非常自然、順手、不受間接工具(如水彩筆等)牽制。除了自身的掌控,油性粉彩的乾燥可塑性也讓我在創作過程中十分盡興,我可以手指在畫面上輕重磨擦、拖拉、運筆,就像是在進行立體雕塑的反覆捏塑、刮除、再捏塑;重複性的勞動軌跡,是我想表現人在空間中存在過的痕跡,一種不停滯、永遠不完整的狀態,並用的顏色堆疊出非現實的色彩和以殘舊的質感,意圖建立似曾相識卻又陌生的熟悉感,讓觀者注視著這個空間,凝視這個無法劃下句點的幻境。

I don't have much idea about "completion".

My parents were work in the furniture factory. I have lived in an environment full of tools and materials since childhood. In the factory, there are many pieces of furniture that are not assembled or wrapped in plastic molds waiting to be shipped. Busy life is my impression of home. In the factory, I often imagine this wrapped furniture, how will it be arranged in a new space? Who is the owner of the furniture or what color is the wall to match them?

I always enjoyed the journey of imagination. In my works. I present a fictional space of imagination. This space does not refer to things or show a clear meaning, but represents a transition from "complete" to "continuing" . During the work process, I used scissors to cut out the objects in newspapers and magazines. I cut them out and arranged them to make unreasonable pictures, such as falling chandelier, messy Desks, crooked paintings, etc. after I rearranged the object, the picture was filled with a weird atmosphere. Viewers can also make guessing game after watching my works. I also keep the cutting lines and emphasize the stitching of the paper in my work, I use weird perspective angles, incorrect proportions of objects and artificial light in the picture to create a calm, but not truthful statement like photo.

I used paper and oil pastels to express my art work. The closeness of the oil pastel to my body makes me natural, easy to use, and free from indirect tools (such as watercolor pens). In addition to my own control, oil pastels also made me feel like molding in the drawing process. I can use my fingers to rub, drag, and move the pen on the paper lightly, as if I am repeatedly molding a sculpture.

The repeated lines of body movement in my paintings are also the traces of people's lives in the space. I want to show a place of non-stop and never complete, l also use the old texture and fading color to create a familiar but strange feeling. when viewer stares at this space, they also gazing at this unending fantasy.

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