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MOVING, UNMOVING 《未能行動的部分》

movingunmoving-1

195x297mm, 80pp, paperback

 

INTRODUCTION

When our emotions override our rational thoughts, it becomes difficult for us to move freely. There is white noise interfering with the harmony between mind and body, and because of this we are unable to act according to the instructions given by our brain. The white noise of my life comes from my past experiences. They are deeply ingrained in my flesh. They interact with every single part of my body in every minute possible way. All my reactions are manipulated by those memories, so I am constantly reacting involuntarily, in a way almost similar to a reflex action. This affects not just my body but also the way I express myself verbally, the muscles that shape every syllable uttered from my mouth. After some time, the memories imprinted in my body even begin to find their way into the nervous system, so that my body reacts to my emotional self much faster than to my rational side. In situations like that, I find myself observing the struggle between my physical being and my willpower, and I wonder how I could gain inner freedom by taking charge of my own actions.

When I look inwards, however, I cannot find the so-called “self” I am looking for. I resort to painting in order to capture the elusive state of being I find myself in. I choose to use clean, simple lines and to eliminate most of the details of the physical body I am painting. I also deliberately make the surroundings appear less pronounced than they are and reduce the narrative elements on the canvas as much as possible. By doing so, I can shift the focus back to my inner conversation and find answers to my own questions.

What I enjoy most about the painting process is to present something with just the right amount of simplicity. Every single form, every single line is part of a pursuit to keep the work unrefined, natural and honest. By continuously asking myself if it is really necessary to add an extra line or another patch of colour, I attempt to reduce my work to its bare essentials.

 

前言

「未能行動的部分」是指思想訴說一樣,感覺卻訴說另一樣,行動未能單一接受思想的指令作出反應,思想連接行動之間夾帶雜訊,未能體現出一致。這些雜訊來自我過往的經歷,它們印記在肌肉裏,在微細的交互中起了作用,在身體及各器官生起感覺;軀體的每一個反應都受着這些記憶左右,於是習慣性的作出某些反射動作。除了是肢體上的反應,在話語方面也因為口腔的肌肉擾動着發出的音節。而長久停駐在肌肉裏的記憶,進一步的滲入神經網絡,面對某些境況,情緒促使着軀體比思想更快作出反應。我觀察這些身體反應和意志之間的狀態,在難以確定的主體性下如何以行動與選擇體現自由。

當我向內觀察,並沒有明確找到一樣所謂「自我」的東西。用繪畫來描述這種難以捉摸的狀態時,我選擇省略身體的大部分物質細節,藉着簡單的線條來表達。而整個畫面也是意圖減弱外在世界的立體感,忽略敘事性,把主旨轉向描繪內在的交流,回答自己發出的問題。

在繪畫過程中,我最為享受的是拿捏那個程度的簡單,恰到好處地呈現一個物體,由每一個形體以至每一條線本身,也在追求一種粗糙及率性的美,並思考在構圖上多畫一條線或一塊面的必要性,試圖讓畫面上不用存在多餘的言語。