Initiate啓啟

Three fleeting years have elapsed at the OCT Creative Park. Three years ago, I decisively severed ties with a thirty-year professional career. Throughout this time, my sole focus has been to build a small vessel of self-salvation. As for where it will drift, that is left to the arrangement of an invisible hand. Unconcerned with market trends, oblivious to predetermined directions, and seeking neither cause nor effect—thus, the journey began. This June, I will bid farewell to this gentle haven and embark upon a long, uncharted drift.

Here, I have continuously explored the dynamic and uncertain relationship between bodily energy and the canvas, the abstract and the figurative, the act of painting and the art of collage. Emphasizing the "here and now" sensation and passion of the creative process, I rely on unconscious scanning to capture diffused, blurred information alongside deep-seated memories—cultural, historical, and deeply personal. Within these canvases, rocks, ruins, afterimages, and data structures act as avatars for one another, perpetually overlapping. The colors exist only in an alternate dimension, glowing with a peculiar luminescence amidst the tension. Inspired by Italo Calvino’s decentralized narrative structure, this body of work aims to map the mutually reflective relationships among real-world scenes, cultural memory, and personal ideology. This exhibition proudly presents four distinctive series, carefully curated from over a hundred works created during this three-year period.

The "Teaching Model Life Drawing" series stands as a conceptual departure among these works, often carrying a touch of absurdity within its specific scenes. Their mimicked expressions, arbitrarily detachable parts, and the high degree of uniformity forged by mass production inevitably bring to mind the human traits they simulate—beings devoid of independent thought, unknowingly manipulated by some invisible will. The commercial sales pitch for these anatomical models serves as the perfect footnote to this existential characteristic: "Manufactured by major factories, premium quality, highly durable, and easily replaceable." This series of paintings is, in essence, a surrealist still life of these teaching models, acting as a profound extension of the social critique that defined my early contemporary creations.

Over these past three years, I have not formed a rapidly identifiable style, established a neatly categorizable visual language, or created a definitive personal symbol. Nor have these works completed the commercial closed-loop from production to circulation. Here, art does not exist to provide answers; rather, it deliberately retreats into being a question. What is it that we are attempting to achieve, and is it truly possible to break free from the structures we rely upon? Perhaps we must concede: no matter how far we deviate, everything still occurs within the structure.

The so-called "drifting" might merely be movement along a predetermined trajectory; the "self-salvation" might simply be a delay of the inevitable fall. Regardless, "three" does not signify completion. As the ancient Daoist philosophy dictates, "Three begets all things." Three constitutes the smallest cyclical unit—and from here, we begin again.

在OCT创意园一晃三年了，三年前决然止断三十年的职业生涯，三年来只为建造拯救自我的小舟，飘向何方，自有看不见的手的安排，不谙行情、不问西东、不求因果，由此启程。六月将别去这片温柔乡，开始漫长未知的漂流。

在这里，持续探索身体能量与画布，抽象与具象，描绘和拼贴之间动态与不确定的关系，强调绘画过程“此时此地”的感受与激情，以无意识扫描捕捉弥散、模糊的信息和深层的记忆——文化的、历史的、个人的， 山石、废墟、残像、数据结构互为替身，彼此叠加，画中的色彩也只存在于异度空间，在张力中泛着奇特的光亮，受卡尔维诺去中心化的叙事结构启发，旨在描绘现实世界场景、文化记忆与个人观念相互映射的关系。本次展览从三年间一百余件作品中选出四个系列呈现。

而教学模型写生这个系列是其中的一个跳脱，在特定场景中往往带有一丝荒诞：它们拟态的表情、可随意拆卸更换的部件，以及批量生产所造就的高度一致性，不免让人联想到其所模拟的人类特征——没有思维，任由某种意志支配而浑然不觉。教学模型的销售广告简直就是这种特性的绝妙注脚：“大厂产品、优良品质、经久耐用、更换方便”，这个系列组画就是对教学模型的超现实写生。也是早年创作社会批判内容的延伸。

这三年，并没有形成可被迅速辨认的风格，没有建立可被归类的语言，没有创造个人特别的符号，作品也未完成从生产到流通的闭环，艺术在此不提供答案，而是重新退回为问题。试图做什么，又是否真的能够脱离其所依附的结构？或许必须承认：无论如何偏离，这一切仍然发生在结构之内。所谓“漂流”，可能只是沿既定轨道的移动；所谓“自救”，也可能只是对坠落的延缓。无论如何，“三”不指向完成，三生万物，三成为一个最小的循环单位，再次开始。

在OCT創意園一晃三年了，三年前決然止斷三十年的職業生涯，三年來只為建造拯救自我的小舟，飄向何方，自有看不見的手的安排，不諳行情、不問西東、不求因果，由此啟程。六月將別去這片溫柔鄉，開始漫長未知的漂流。

在這裡，持續探索身體能量與畫布，抽象與具象，描繪和拼貼之間動態與不確定的關係，強調繪畫過程“此時此地”的感受與激情，以無意識掃描捕捉彌散、模糊的信息和深層的記憶——文化的、歷史的、個人的， 山石、廢墟、殘像、數據結構互為替身，彼此疊加，畫中的色彩也只存在於異度空間，在張力中泛著奇特的光亮，受卡爾維諾去中心化的敘事結構啟發，旨在描繪現實世界場景、文化記憶與個人觀念相互映射的關係。本次展覽從三年間一百餘件作品中選出四個系列呈現。

而教學模型寫生這個系列是其中的一個跳脫，在特定場景中往往帶有一絲荒誕：它們擬態的表情、可隨意拆卸更換的部件，以及批量生產所造就的高度一致性，不免讓人聯想到其所模擬的人類特徵——沒有思維，任由某種意志支配而渾然不覺。教學模型的銷售廣告簡直就是這種特性的絕妙註腳：“大廠產品、優良品質、經久耐用、更換方便”，這個系列組畫就是對教學模型的超現實寫生。也是早年創作社會批判內容的延伸。

這三年，並沒有形成可被迅速辨認的風格，沒有建立可被歸類的語言，沒有創造個人特別的符號，作品也未完成從生產到流通的閉環，藝術在此不提供答案，而是重新退回為問題。試圖做什麼，又是否真的能夠脫離其所依附的結構？或許必須承認：無論如何偏離，這一切仍然發生在結構之內。所謂“漂流”，可能只是沿既定軌道的移動；所謂“自救”，也可能只是對墜落的延緩。無論如何，“三”不指向完成，三生萬物，三成為一個最小的循環單位，再次開始。