記憶的摺痕 — 山水系列之摺景1 系列桌布（1440x2960，適用高階安卓旗艦機 Samsung S8+ 以上）

原作：山水系列之摺景 1  60.5x72.5cm  布面油畫   2018年 (已獲收藏)

《摺景1》創作理念

《摺景1》是一件圍繞「空間的摺疊性」與「記憶的層次性」進行視覺探索的作品。它試圖回應的是：當代人在經歷時間斷裂與知覺分層的狀態下，如何重新觀看並建構「風景」。與其說這是一幅再現自然的山水畫作，不如說它是對內在地景的一種抽象建構，一場關於知覺與記憶的視覺實驗。

在傳統美學中，「風景」常被視為某種客觀、靜態的自然映照，是觀看與被觀看的二元構造；而在《摺景1》中，風景成為心理場域的投射，成為意識與潛意識交錯下的生成圖像。畫面中的摺痕與堆疊，並非來自物理現實的摺紙技術或摺景視角，而是一種象徵性圖式，代表時間、經驗與感知的扭曲與壓縮。這樣的處理方式亦可視為對當代圖像空間（image-space）流動性的回應，使風景成為可被折疊、展開、重新組構的思維結構。

我透過多層次的色彩層疊與筆觸流動，營造出一種既具結構又不穩定的畫面質地。每一道摺痕，都是一次「視覺事件」的介入；每一層褶皺，都像是一段記憶被重新壓縮的結果。這種非線性的空間安排，破除了單點透視的觀看慣性，導引觀者進入一種模糊的、介於記憶與幻象之間的知覺狀態。換言之，這不僅是觀看風景，更是經歷風景——以心理的方式，以感性的深度。

在概念層面上，《摺景1》亦受到東方哲學中「變化」、「空無」與「有機秩序」觀點的啟發。摺痕作為邊界與連結的雙重意象，呈現出一種動態的對應關係：實與虛、現實與想像、時間的累積與遺忘的裂縫。這使得作品不僅僅是視覺的對象，更是一種「知覺的地景」（landscape of perception），一個由經驗與想像所共構的心理場。

此外，「摺」的語意亦可延伸至德勒茲（Gilles Deleuze）在其著作《褶子》中對於褶皺（the fold）作為哲學結構的討論。他主張褶皺不只是物質的形變，更是一種連接內在與外在、表層與深層的動態模式。在這樣的脈絡下，《摺景1》的畫面摺疊便不再只是形式語言，而是一次感知邊界的擴張，是個體在複數世界中不斷定位自身的過程。

總結而言，《摺景1》是我對風景這一類型命題的再思與重構。它拒絕單一視角與穩定敘事，取而代之的是一種開放、可變、內省的觀看方式。觀者在其中不會找到清晰的地標或方向，而是被邀請進入一個由摺疊構成的感知迷宮——一個無法命名、卻深刻回響於心的風景之地。這是對風景的摺疊，也是一種觀看自身的摺景。

Artist Statement for Folded Scenery 1

Folded Scenery 1 is a visual exploration centered on the notions of spatial folding and the layered nature of memory. It seeks to respond to a central question: how can we re-envision and reconstruct “landscape” in an age shaped by perceptual fragmentation and temporal discontinuity? Rather than portraying a physical terrain, this work constructs a psychological landscape—an abstract formation shaped by perception, memory, and affect. It is, in essence, a visual inquiry into how we experience and internalize the world.

In classical aesthetics, “landscape” is often perceived as an objective and static mirror of nature, shaped by a binary relationship between observer and observed. In Folded Scenery 1, I challenge this model by treating landscape as a mutable, inner field—one that emerges from the entanglement of consciousness and subconscious traces. The folds and overlaps in the composition are not derived from physical structures, but operate symbolically: they embody the distortion, compression, and reconstruction of lived time, psychological experience, and perceptual residue. In this way, the piece responds to the fluidity of image-space in contemporary visual culture, positioning landscape as a conceptual structure—one that can be folded, layered, and reassembled.

Through multi-layered applications of color and fluid brushwork, I aim to build a surface that is both constructed and unstable. Each crease functions as a “visual event,” a moment of interruption and redirection. Every fold suggests a compressed memory fragment, inviting the viewer into a non-linear spatial encounter. Rather than offering a clear focal point, the painting evokes a shifting, dream-like perceptual state—one that resists traditional one-point perspective and linear temporality. It is not a scene to be viewed from afar, but a landscape to be felt and traversed from within.

Conceptually, the work draws from Eastern philosophies that emphasize impermanence, emptiness, and organic transformation. The fold serves as both boundary and bridge—an image of duality that embodies presence and absence, reality and imagination, accumulation and rupture. Thus, the painting becomes not merely a visual composition, but a “landscape of perception”—a site formed through the interplay of memory and imagination, of forgetting and emergence.

The idea of folding also resonates with Gilles Deleuze’s philosophical writings in The Fold, where the fold is described not merely as a formal element, but as a dynamic system connecting the interior and the exterior, the visible and the invisible. In this context, the folded forms in Folded Scenery 1 are not only aesthetic choices but also a conceptual strategy—expanding the boundaries of perception and inviting viewers to engage with the complexities of lived experience.

In sum, Folded Scenery 1 is a reconfiguration of the landscape genre. It resists singular viewpoints and stable narratives, offering instead an open, shifting, and introspective space. The viewer is not provided with landmarks or clear direction, but is invited into a perceptual labyrinth—a folded terrain that defies naming, yet resonates deeply in the subconscious. This is a landscape folded inward, and a landscape through which one may also come to see oneself anew.