山水系列-泡影之境2    60.5x80cm    布面油畫    2018年 (藝術銀行收藏)

《山水系列－泡影之境2》創作理念

《摺景1》的創作發端，源自對風景觀看方式的深刻探問。在這件作品中，風景不再是我們習以為常的「完整畫面」，而被拆解成一頁頁如摺紙般的視覺切片。這些切片彼此斷裂、偏移、錯開，卻在一種非線性、錯綜複雜的結構中，重新建構出空間的深度與情感的厚度。這樣的構圖並非純粹形式上的實驗，而是一場關於觀看與被觀看關係的重塑。風景不再是靜止且被固定的對象，而是一種與觀看者共處於同一時間與空間多重層疊的存在狀態。

「摺」是整個作品中的關鍵詞彙。它不僅象徵空間的折疊，更暗示時間的摺曲與重組。每一處視覺上的皺褶，都隱藏著記憶的迴響和情感的回音。摺景不是對某處自然風光的直接再現，而是介於內在經驗與外在現實之間的過渡空間，一種描繪存在縫隙的視覺語言。這些空間的裂縫與重疊，呼應當代哲學對主體去中心化的思考——觀看不再只是從單一視點出發，而如同德勒茲在《摺疊：萊布尼茲與巴洛克》中描述的褶面般，成為意識中無限內捲的微細波動。

然而，我關注的重點並非理論體系的抽象建構，而是這些摺面如何滲入我們日常生活中，形塑我們內心的風景。我試圖將「摺景」理解為一種存有的姿態，是那些意識尚未成形、語言尚未觸及之前，微光閃爍、情感震盪的輪廓。正因如此，作品中的色彩與筆觸刻意保留了模糊與留白，為觀看者的生命感知留出空間，讓觀者能以自己的心靈經驗填補這些未竟之境。

畫面中的部分區域似乎正慢慢退場，另一些則在持續生成，這正是對「觀看的時間性」的具象化表現。風景不再是靜態、完成的形態，而是不斷發生、延續的當下進行式。我特別關注這些尚未命名、無法歸類的視覺邊界，它們往往是情感與靈魂輕輕顫動的所在。因而，《摺景1》不僅是繪畫作品，更是一首視覺詩學：詩意不僅是風景的修辭裝飾，而是其本質的構成元素。

在當今數位化與影像氾濫的時代背景下，我也在思索繪畫作為風景主題的當代可能性。當人們習慣於快速滑動螢幕、速食圖像時，是否仍有可能培養出一種緩慢凝神、等待視覺發酵的觀看態度？《摺景1》正是對抗這種快節奏視覺經濟的藝術回應。它不喧嘩、不迎合潮流，而是靜靜邀請觀看者停駐片刻，於那些簡潔的色彩轉折與筆觸疊加間，重新與自身的內在風景相遇。

我始終相信，真正的風景來自於內心。外在的世界僅是引發心靈共鳴的媒介。當某個形象觸及我們心中尚未癒合、尚未被察覺的角落，才會產生真正的情感共振。《摺景1》既是我內在風景的一頁，也是對世界的一種溫柔凝視。在觀看的過程中，我期望這份凝視能開展出更多與他者之間的靜默對話，成為彼此心靈深處的交會。

Folding Landscape I began with a question: how do we look at landscapes? In this work, the landscape is no longer presented as a “complete” image, but rather as a sequence of visual slices, folded like pages—disjointed, shifted, misaligned—yet reassembled through a nonlinear structure that creates both spatial depth and emotional resonance. This compositional approach is not merely a formal exercise; it attempts to reconfigure the relationship between viewing and being viewed. The landscape here is not a passive, fixed object, but a presence layered within the same space-time continuum as the viewer.

The concept of “folding” is central to the work. It refers not only to the folding of space but also to the bending of time. Each visual crease contains echoes of memory and reverberations of feeling. This folded landscape is not a figurative representation of the natural world, but a liminal space between inner experience and external reality—a depiction of the fissures in existence itself. The ruptures and overlays in the pictorial space respond to philosophical notions of the decentered subject. Seeing no longer stems from a single, stable point of view; rather, as Gilles Deleuze suggests in The Fold: Leibniz and the Baroque, it emerges through infinitely folding surfaces and subtle undulations of consciousness.

That said, my concern is not with constructing a theoretical system, but with how these folds seep into the internal landscapes of our everyday experience. I approach the “folded landscape” as a mode of being—those contours of awareness just beginning to surface, not yet fully formed; those flickers and fragments that stir the heart before language arrives. This is why the color and brushwork in the painting are intentionally ambiguous and open-ended, allowing space for viewers to bring their own lived perception into the image.

Parts of the painting seem to recede, while others are coming into being—this reflects the temporality of seeing. The landscape is no longer a finished form, but an unfolding process in the present tense. I am drawn to these unnamed, unclassifiable visual thresholds where emotion and spirit begin to tremble. Folding Landscape becomes a kind of visual poetics—not a decorative rhetoric applied to nature, but its essential constitution.

At the same time, I reflect on the place of landscape painting in today’s image-saturated, digitized world. When we’ve grown accustomed to scrolling through screens and consuming images in rapid succession, is it still possible to cultivate a mode of seeing that is slow, attentive, and patient—one that allows visual meaning to ferment over time? This work offers such a proposition. It resists spectacle and refuses to cater to trends. Instead, it invites: it invites the viewer to pause, to linger, to encounter the inner landscape once more through subtle turns of color and overlapping gestures.

I have always believed that true landscapes arise from within. The external world serves only as a catalyst; the images that truly move us are those that resonate with the hidden or unhealed corners of our hearts. Folding Landscape I is one such image—both a page from my own inner terrain and a gentle act of seeing, hoping to open up quiet conversations between viewer and image, between self and other.