筆觸在平面上的可能                                                                                                                                                                                                                                                                                                                               文/徐睿甫  
                                                                

 

這個展覽旨於闡述筆觸在繪畫中的作用，並以兩組類型不同的作品作為對照。


以〈無題〉系列的圖像來看，極度密集的視覺表現與層疊的筆觸、色階是其特徵，它們是我自小身處鄉間觀察自然所得出的心得。在我的觀察中，花叢、草木與樹林原具近遠景深，而細看下又包含著物與物相互交疊的特質。它們相依相存、互相含括，一是多；多也即為一。筆觸飽含身體知覺，我近乎偏執的以碎筆疊加，極薄的筆觸彼此覆蓋，進而疊合成綿密的組織與無以名狀的團塊。這種創作方式為平面增添了許多可能性，它讓我感受到繪畫可以超越視覺所主導的模式，甚至有跨域至觸覺、嗅覺的可能。


我也把筆觸運用的心得放進肖像畫之中。〈為…畫張畫像〉以人臉為形象，由綿密的筆觸交疊而成。創作當下，我既是觀察者同時又是創作者，既畫他人的同時也在描繪自己，以至於我無法忽略主體客體、能見者與可見者互為表裡的狀態。而繪畫動作亦引發了思考，我問自己：「我到底在畫什麼?」肖像畫之所以獨特在於其是「以臉為基礎並圍繞著一個形象所組織起來的繪畫」，於是焦點從人轉移至肖像，再從肖像轉移至繪畫。我深信〈為…畫張畫像〉可以讓觀者再度反芻自身那「身而為人」應有的態度與思考「人之所以為人」的存在理由。


筆觸在平面上的作用即為聯繫兩系列作品的可能，筆觸隱含創作的過程與畫家對作品的想像，並藉由平面的特質展現出來。所以，平面所展示的既是繪畫結果又是繪畫過程，它連繫了身體與感知，可遙指過去亦可試想未來，亦可指涉現實與想像之間的某個區域，讓觀者與創作者同在這個區間內尋找彼此的共鳴之處。



This exhibition aims to explore the role of brushstrokes in painting, contrasting two different types of works.

In the "Untitled" series, the images are characterized by intensely dense visual expressions, layered brushstrokes, and gradations of color. These works reflect insights I gained from observing nature during my childhood in the countryside. In my observations, flowers, plants, and forests naturally possess depth of field, and upon closer inspection, they reveal overlapping qualities between objects. These elements coexist and encompass one another; one is many, and many is one. The brushstrokes are infused with bodily perception, and my almost obsessive layering of thin strokes creates a dense texture and indefinable masses. This method of creation adds many possibilities to the flat surface, allowing me to feel that painting can transcend the visually dominant mode, even suggesting a crossover into the realms of touch and smell.

I also applied my understanding of brushstrokes to portraiture. The series "I Painted a Portrait for ..." uses the human face as its subject, depicted through densely interwoven brushstrokes. During the creative process, I am both the observer and the creator, simultaneously painting others while portraying myself. This duality blurs the distinction between subject and object, between the observer and the observed. The act of painting also prompts reflection, making me question, "What exactly am I painting?" The uniqueness of portraiture lies in its organization around a face, shifting the focus from the person to the portrait, and then from the portrait to the painting itself. I firmly believe that "I Painted a Portrait for ..." can lead viewers to reconsider their attitude toward being human and reflect on the reasons for human existence.

The role of brushstrokes on a flat surface connects the possibilities between these two series. Brushstrokes embody both the creative process and the artist's imagination, manifesting through the characteristics of the flat surface. Therefore, the surface displays both the result and the process of painting. It links body and perception, refers to both the past and the future, and alludes to a space between reality and imagination, allowing the viewer and the creator to find mutual resonance within this area.