《月亮 7－早起的月亮》誕生於「月亮系列」的脈絡中。這個系列持續探索月亮作為符號、作為意象、作為時間與空間的座標，在視覺語言中如何延伸出多層的意味。對我而言，月亮不僅是天體現象，它也是一種觀看的契機，一個投射心境與思考時間的媒介。尤其在黎明時分，那顆尚未隱退的月亮，往往以「不合時宜」的方式出現，它既提醒我們夜晚的存在，又昭示清晨的到來。這種模糊不清的狀態，正是我繪畫中持續關注的「臨界經驗」。
月亮 7- 早起的月亮 53x72.5cm 芙蓉畫布/油畫 2021年 (已獲收藏)
一、時間的悖論與詩意的延宕
題名「早起的月亮」本身即帶有悖論。月亮屬於夜，而「早起」是屬於白晝的動詞，當這兩個語境相遇時，觀者立刻感知到一種時間的錯位。正如哲學家柏格森（Henri Bergson）所言，時間不僅是鐘錶所能計算的線性流逝，而是由意識經驗構成的「持續」（durée）。在這幅作品中，月亮之所以動人，正因它將夜的延續與晨的開端疊合於同一瞬間，使時間不再單一，而是多重並置的。
對我而言，月亮在清晨的出現是一種「延宕」。它不願退場，卻也不完全屬於此時；它存在於過渡的臨界，卻因而獲得更鮮明的存在感。這種延宕狀態，與詩歌的作用相似：語言在詩中被延緩，被拉長，從而使時間有了可供體驗的厚度。繪畫亦是如此，它延緩了瞬間的消逝，使之得以被凝視。
二、畫面結構與視覺語言
整幅作品由三大層次構成：天空、山林與漂浮的色塊。
天空是主體，佔據了畫面的絕大部分。由深藍逐漸過渡到清澈的淺藍，它不再只是背景，而是具有存在感的空間。藍色層層疊疊的薄塗，使其既沉穩又透明，如同呼吸般流動。這種空間的廣闊，形成了一種「無時間性」，它超越了清晨的限定，成為觀看的場域。
山林的描繪則截然不同。前景的樹木以黑與白的對比，像骨架般冷峻。枝幹錯綜，近乎抽象的結構感，使它們超越了自然再現，轉化為一種符號性的構造。這樣的處理呼應了現代繪畫中的抽象傾向——自然不再是單純的對象，而是被轉化為形態與秩序的語言。它們彷彿成為天空與大地之間的「邊界」，承載著觀看的重量。
在這兩者之間，漂浮的色塊與球體宛若異質的介入。它們像泡影、像遊離的星辰，又像記憶中被放大的細節，輕盈而遊移。這些不合常理的存在，打破了寫實的連續性，卻也帶來詩意的陌生化。這種陌生化，正如俄國形式主義批評家什克洛夫斯基（Shklovsky）所言，藝術的任務是「使事物變得陌生」，讓人從日常的自明性中被驚醒，重新看見熟悉的事物。
三、觀看的延緩與凝視的經驗
這幅畫在結構上的安排，刻意營造了一種「觀看的延緩」。天空的廣闊與樹林的密集形成強烈對照，視線在空曠與繁複之間來回切換。月亮的出現雖然醒目，但它並非唯一的焦點；觀者的眼睛會不斷在漂浮的色塊、枝幹的交錯、天空的層次之間徘徊。這種觀看的中斷與回環，使觀者意識到自身正在觀看。
繪畫並不只是圖像的呈現，它也是觀看方式的提案。《早起的月亮》並未給予觀者單一路徑，而是迫使視線在不同層次之間游移。觀看因此變得不確定，甚至略帶不安，但正是這種不確定，使畫面成為一種經驗，而不僅是再現。
四、自然與抽象的交會
這幅作品表面上是一幅風景畫，然而其中的處理卻不斷游走於自然與抽象之間。天空是真實的，月亮是真實的，但漂浮的色塊卻是抽象的；樹木來自觀察，但被極度簡化與強調後，成為幾近抽象的結構。這種交會構成了一種緊張感，也使畫面具有開放性。
這種方法，延續了西方現代主義繪畫對「自然的再發明」的傳統。塞尚曾說：「我不再畫蘋果，而是畫圓柱、球體與圓錐。」在我看來，樹木不僅僅是樹木，它同時是線條的集合、力量的交錯、結構的張力。透過這樣的轉換，自然被納入一種更為普遍的秩序中。
五、情感厚度與心境投射
然而，對我而言，繪畫最重要的並不是理論上的實驗，而是情感的厚度。《早起的月亮》在某種意義上，是一種心境的投射。它不僅表現黎明的景象，更表現黎明的情感：安靜中帶著期待，清朗中隱含著餘韻。
觀看這幅作品，彷彿進入一個熟悉又陌生的境地。月亮的存在帶來安定，卻也因「不合時宜」而顯得不安；漂浮的色塊帶來輕盈，卻也暗示了不確定。這種雙重性，使畫面成為一種「安定中的不安」，或「不安中的安定」。正如詩歌能在簡單的語言中蘊藏矛盾，繪畫也能在一個畫面中承載複數的情感。
六、時間的詩意
最終，《早起的月亮》所追尋的，是對「時間之詩意」的探索。月亮清晨的存在提醒我們，時間並非嚴格的鐘點，而是一種流動的經驗。它可以延宕、可以重疊、可以錯置。繪畫則讓這種時間得以被看見，並被凝固。
因此，《早起的月亮》不只是風景的再現，而是一種時間的形象；不只是自然的描繪，而是心靈的鏡像。它是一個詩意的容器，讓觀者在觀看中體驗時間的厚度，在日常中感受非日常，在熟悉中觸及陌生。
這樣的作品，最終並不是回答什麼，而是提出一種提問：當我們凝視清晨的月亮，我們究竟在看月亮，還是在看時間？還是看著我們自身，在時間之中被延宕的存在？
Artistic Statement
The Threshold of the “Early Moon”
“Moon 7 – The Early Moon” belongs to a body of work in which the moon is not only an object ofvision but also a medium of thought, an image that gathers within itself
questions of time, perception, and poetic intensity. Across the series, the
moon recurs as a companion, sometimes distant, sometimes near, but always
carrying with it an aura of silence, suspension, and multiplicity.
Inthis painting, the moon appears in the morning sky. Such a scene is not
uncommon in life, yet when transposed into painting, it assumes the force of
paradox. The moon is traditionally aligned with night—its radiance is a
reflection of darkness, its rhythm tied to tides and cycles beyond daylight.
Yet here, it lingers “too long,” visible when the logic of time suggests it
should already be gone. This lingering transforms a simple natural occurrence
into an emblem of untimeliness. It is both familiar and estranging, both
comforting and disquieting.
Thephrase “early moon” contains its own contradiction: early impliesanticipation, belonging to the day, while the moon belongs to night.This contradiction lies at the heart of the work. For me, it signals a
resistance against linear temporality, a reminder that time is not simply
sequential but layered, recursive, and capable of delay. The “early moon” is a
figure of suspended time—a remainder that refuses to disappear, and in that
refusal, opens a space for reflection.
Temporality and Duration
Tothink about this moon is to think about time. In philosophy, Henri Bergson
distinguished between measurable time, the kind that clocks divide into units,
and durée—a duration lived from within, elastic, heterogeneous, andindivisible. The early moon, for me, becomes a visual embodiment of durée.It disrupts chronology, revealing how one moment can contain the residue of
another, how the past can leak into the present, how beginnings are haunted by
what has not ended.
Inthis sense, the painting is not only about depicting a moment in nature but
also about visualizing the thickness of time. The moon becomes a hinge where
multiple temporalities intersect. It is an afterimage and a premonition at
once.
Structure of the Painting
Thecomposition unfolds across three zones: the vast sky, the skeletal forest, and
the floating fragments suspended between them.
Thesky is dominant, rendered in gradients of blue that shift from depth to
translucency. This sky is not merely a backdrop but a field of breathing space,
a zone where perception can drift. Its expansiveness conveys the immensity of
time itself—open, immeasurable, continuous.
Beneaththe sky lies the forest, drawn in black and white with stark contrasts. The
trees appear stripped of foliage, reduced to skeletal lines, their branches
entangled like bones or scaffolding. They are not the trees of naturalist
painting but structural forms, architectures of tension that delineate the
threshold between earth and sky. Their bareness evokes both fragility and
endurance, suggesting a rhythm closer to geometry than to botany.
Betweensky and forest hover the floating fragments: circular stains, orbs of pigment,
dots and shapes without clear referent. They are at once playful and
destabilizing. One may read them as stars displaced into daylight, as fragments
of memory, or as purely painterly gestures. Their role is to disturb realism,
to break the continuity of natural depiction, and to open the space of
imagination. Here, I recall Viktor Shklovsky’s concept of ostranenie—defamiliarization.Art renews perception not by confirming the familiar but by making it strange.
These floating fragments enact this principle: they estrange the scene,
reminding us that seeing is never neutral but always layered with memory,
projection, and wonder.
The Experience of Viewing
Thepainting resists closure. The gaze oscillates: the expansive openness of the
sky draws the eye outward, while the dense forest pulls it inward. The moon
hovers as a beacon, yet attention is repeatedly deflected toward the floating
fragments, the intricate network of branches, the tonal shifts of color. The
viewer is never allowed to settle into a single focal point.
Thisdeferral of resolution is not incidental—it is central to the work. It mirrors
the paradox of the early moon itself: lingering where it “should not” be,
occupying a position between categories. Just as the moon unsettles the logic
of day and night, the painting unsettles the gaze, keeping it in motion,
prolonging the act of viewing. In this way, perception itself becomes temporal.
To look is to linger.
Between Nature and Abstraction
Althoughthe painting takes the form of a landscape, it continually leans toward
abstraction. The sky is atmospheric yet formal; the forest is observed yet
stylized into a rigid architecture; the floating fragments are utterly
abstract. The work hovers between recognition and estrangement, between natural
image and symbolic form.
Thisambivalence situates the painting within a lineage of modernist transformation
of nature. Cézanne spoke of reconstructing nature through cylinders, spheres,
and cones; for him, the landscape was not imitation but structure. In a similar
sense, the forest here is not “trees” but lines and tensions; the sky is not
“weather” but gradation and rhythm. Nature becomes a vocabulary for
articulating forces of balance, dissonance, and duration.
Emotional Density
Yetbeyond theory, the painting remains rooted in affect. What interests me most is
not only how a form is constructed but also how it feels. The early moon is
above all a mood—a projection of ambivalence.
Thereis reassurance in the moon’s continued presence, but also unease in its
untimeliness. The floating fragments carry a playful lightness, but also
suggest instability, as if the scene were fragile, subject to dissolution. The
skeletal forest evokes both endurance and emptiness. These contradictions are
not resolved but coexist, forming a layered emotional field.
Thisambivalence is what I seek: the coexistence of calm and disquiet, the overlap
of familiarity and strangeness. For me, the poetic dimension of painting arises
precisely from such tensions.
Painting as a Poetics of Time
At itscore, Moon 7 – The Early Moon is a meditation on time. The moon visibleat dawn interrupts the clean division of day and night, reminding us of the
porousness of temporal categories. Painting itself operates similarly: it
freezes an instant while simultaneously extending it, compelling us to dwell
longer than the moment would otherwise allow.
Throughthis painting, I explore how time lingers, how it folds back on itself, how it
resists being measured in simple succession. The early moon becomes a figure of
delay, an emblem of duration that refuses closure.
Conclusion: Encountering Ourselves
Ultimately,the work is less about depicting a dawn landscape than about embodying the
paradox such a moment represents. It is an image of suspension, of intervals
that resist definition, of perception stretched beyond its habitual limits.
Whenwe see the early moon, we are not merely observing the sky. We are witnessing
time made visible—time as residue, time as anticipation, time as duration. And
perhaps in this encounter, we also confront our own states of lingering:
moments in life where we are caught between what has ended and what has yet to
begin, moments where we too inhabit the paradox of being untimely.
Thus, Moon7 – The Early Moon is not simply a painting of the sky at dawn. It is apoetic container, holding within it the thickness of time, the ambivalence of
emotion, and the possibility of seeing anew.