藍色氤氳 — 靜境系列之浮景二章（1290x2796｜適用 iPhone 16 / 16Pro 以下所有手機） 

藍色氤氳  72.5x100cm  芙蓉畫布/油畫  2024年

《藍色氤氳》完整的創作理念：https://www.kuoyuhsu.com/blog/2327218eeb6?categoryId=613049

簡述：

《藍色氤氳》是一場關於時間、距離與感知的視覺實驗。藍色在此不只是色彩，而是一種緩慢擴散的呼吸——它既是空氣，也是記憶的質地。作品並非自然風景的再現，而是對「存在的溫度」的凝視，介於冰與光、親近與疏離之間。

畫布選用芙蓉材質，讓油彩在其表面緩慢滲透、乾燥，形成如霧般的肌理，使藍色在視覺上生成深度與空間感。畫面中的漂浮色球（紅、黃、綠、橙）如同聲音的顫動，打破沉靜，形成視覺上的呼吸律動，呼應康定斯基對色彩與情感的關聯探索。

作品結構介於具象與抽象之間：白色枯樹如時間的骨架，冰原與色球則推向不確定的邊界。地平線的後退與冰壁的阻隔，暗示觀看的限制與探索的必要。油彩層次的疊加，讓時間在畫面中緩慢沉澱，觀者的視線在回憶與當下之間穿梭，呼應現象學中的「延宕」概念。

雖以冷色為主，畫面卻不冷漠。藍色如霧般包覆，色球則如記憶中突如其來的溫度，營造出情感的密度與空間的呼吸。創作過程中，我讓顏料與畫布在時間中對話，作品最終成為我與材料、空間、情緒共同生成的結果。

《藍色氤氳》不求一次讀懂，而是邀請觀者在氤氳中停留，讓視線與情感緩慢沉降。它不描繪具體，而是喚起感受——那種既遙遠又貼近、既清晰又朦朧的瞬間。

Blue Diffusion is a visual meditation on time, distance, and perception. Here, blue is not merely a color—it is a slow, expansive breath. It evokes both air and memory, a hue that lingers between light and ice, intimacy and detachment. This work does not aim to replicate nature, but rather to gaze into the “temperature of existence.”

The canvas, made of hibiscus fiber, allows oil paint to seep and dry gradually, forming mist-like textures. This material choice gives blue a spatial depth, transforming it from surface pigment into an immersive visual field. Floating spheres—red, yellow, green, orange—punctuate the composition like sonic vibrations, breaking the stillness and creating a rhythm of visual breath. These elements echo Kandinsky’s exploration of color as emotional resonance, not just optical contrast.

The painting balances between abstraction and figuration. White, leafless trees anchor the viewer in a recognizable symbol of time’s skeleton, while the icy terrain and drifting spheres push the scene toward ambiguity. The horizon recedes, and a towering ice wall on the right obstructs full visibility, suggesting that perception is always partial—one must navigate through the haze.

Layered oil techniques allow time to accumulate within the image. Transparent glazes form the atmospheric base, while saturated strokes define the spheres and terrain. The final layer—delicate tree branches—acts as the last trace of time. This structure reflects a non-linear understanding of temporality, where meaning emerges gradually, echoing the phenomenological idea of deferred perception.

Though dominated by cool tones, the painting is not cold. Blue here envelops rather than isolates. The spheres, like sudden flashes of emotion, disrupt the calm and introduce a subtle tension. This emotional density arises from the balance between emptiness and presence—vast blue expanses countered by scattered points of color.

Blue Diffusion continues my exploration of emotionalized space. Unlike previous works that leaned toward realism, this piece invites viewers to drift between recognition and disorientation. Blue represents my vision of tranquility; diffusion, my acceptance of uncertainty. The floating spheres are emotional sparks—meant not to be explained, but felt.

The painting does not demand immediate understanding. It is a space that unfolds over time. At first glance, one may see only blue and white; but with prolonged viewing, the spheres, the ice wall, the silent trees begin to reveal layered meanings. The viewer’s gaze becomes part of the work, and the work itself shifts through perception.

Ultimately, Blue Diffusion is not about depicting something, but about evoking a moment—one that is distant yet intimate, clear yet elusive. Blue becomes a way of being; diffusion, a texture of time. Meaning lies not in what is shown, but in what is slowly felt.