Ideas/概念

This solitary stone stands on the slope, unnoticed by anyone. To me, several years ago, it was just an object in the rural landscape.
 
A sudden onset of eye illness made me realize that everything before my eyes could vanish in an instant. So, I temporarily abandoned oil paints and chose to draw with warm-toned pencils. An urgent mindset compelled me to exhaust my eyes and hands to preserve every part of the memory. The abundance of stacking and erasing actions reflected a psychological urgency to fulfill a yearning desire, and the labor made me feel grounded.  

When overly focused on achieving the ultimate representation of the image, my focus shifted from the extremely small and close to the blurry, concentrating on abstraction beneath the microscopic. At this point, the image of the stone became irrelevant. I was more concerned with the pen in my hand, contemplating the relationship between the pen and paper, strokes and perception, and the interplay of flatness and volume. These relationships transformed into dense brushstrokes on the paper, layering bit by bit until the composition became intensely saturated.  

I believe the stone is no longer just a stone; it has become a symbol in my personality, filled with obsession, dissatisfaction, and capriciousness.



這塊石頭孤零零地矗立在斜坡上，沒有人注意到。對我來說，幾年前，它只是鄉村風景中的一個物體。  

一場突如其來的眼疾讓我意識到眼前的一切可能會瞬間消失。所以，我暫時放棄了油畫，選擇用暖色調的鉛筆畫畫。一種緊迫的心態迫使我用盡我的眼睛和雙手來保存記憶的每一部分。大量的堆疊和擦除動作反映了一種滿足渴望的心理緊迫感，而這種勞動讓我感到腳踏實地。  

當過度專注於實現圖像的終極再現時，我的焦點從極小、接近的事物轉向了模糊，專注於微觀之下的抽象。此時，石頭的形象就變得無關緊要了。我更關心手中的筆，思考筆與紙、筆觸與感知的關係，以及平面與體積的互動。這些關係轉化為紙上密集的筆觸，一點一點地分層，直到構圖變得高度飽和。

我想，畫中的石塊已不是實際的石塊而已，它已經成為我個性中充滿偏執、不滿足且任性的象徵。