早起的月亮 — 月亮7 系列桌布（1290x2796，適用 iPhone 13 / 14 / 15 Pro Max）

月亮 7- 早起的月亮   53x72.5cm   芙蓉畫布/油畫   2021年 (已獲收藏)

更完整深入的創作理念：https://www.kuoyuhsu.com/blog/7?categoryId=613049

創作理念簡述:

《月亮 7－早起的月亮》描繪的是一個過渡的時刻：夜未全退，日方欲起。清晨的天空仍懸著一輪明月，它並不屬於此時，卻頑強地停留，成為時間錯位的象徵。這樣的月亮，既是夜的延續，也是日的先聲。

畫面由深藍過渡至淺藍，天空的層次既指涉黎明的臨界，也暗示一種無時間性的開闊。下方的樹木以黑白對比呈現，像是冬林的骨架，冷峻卻具有秩序感。它們不單是自然的再現，而是一種結構性的符號，構築出大地與天空的邊界。

漂浮的色塊與圓點打破了寫實性，它們如泡影般遊離，帶來詩意的不確定。這些元素與月亮形成呼應，使整體畫面兼具孤獨與群聚、真實與幻象的張力。

「早起的月亮」本身就是一種悖論。它不合時宜地出現，卻因此展現了獨特的存在感。這種時間的延宕，正是我所追尋的繪畫經驗：觀看並非直線，而是一種停滯與回環。

作品不僅是風景的描繪，更是一種心境的投射。它呈現了安定中的不安，與不安中的安定。月亮的「早起」提醒我們，時間並非僅是鐘點的推進，而是一種可被感受、被延展的經驗。

因此，《早起的月亮》成為一個詩意的容器，讓觀者在熟悉與陌生之間游移，感知日常中的非日常，並在錯置的天空裡，看見心靈的迴響。

Artistic Statement (English, ~500 words)

“Moon 7 – The Early Moon” belongs to a series in which the moon is not merely a celestial body but a vessel of time, perception, and poetic resonance. In this work, the moon lingers in the morning sky—a presence that feels both natural and untimely. It belongs to night, yet appears at dawn, embodying a paradox that transforms a simple scene into a meditation on temporality.

The “early moon” resists linear chronology. It is at once a remnant of night and a herald of day, a figure of duration in Bergson’s sense: time not as clockwork but as lived continuity. This delay, this refusal to disappear, grants the moon a heightened intensity. It becomes an emblem of temporal overlap, of moments that cannot be confined to clear beginnings or endings.

Visually, the painting unfolds across three registers: the expansive sky, the skeletal forest, and the floating fragments in between. The sky, layered in shifting blues, is less backdrop than breathing space, an atmosphere of suspension. The forest, stark in black and white, is reduced to branching structures, transforming natural forms into symbols of tension and order. Between them drift floating shapes—colored orbs and fragments—that resist realism, unsettling the scene and evoking Viktor Shklovsky’s notion of defamiliarization: art’s power to make the familiar strange.

The composition withholds resolution. The gaze moves between openness and density, between moon, branches, and fragments, never resting in one place. This deliberate deferral mirrors the subject itself: the moon lingering where it “should not be.” The painting becomes less a landscape than an experience of perception stretched in time.

At the threshold between nature and abstraction, the work speaks to a modernist inheritance where landscape is reimagined as structure, rhythm, and force. Yet beyond formal concerns, its essence is emotional. The scene embodies an ambivalence—calm yet uneasy, reassuring yet estranged. The moon comforts by its presence, but disturbs by its untimeliness. The floating fragments lighten the mood, yet suggest fragility.

Ultimately, Moon 7 – The Early Moon is not a depiction but a meditation: on how time lingers, how vision hesitates, how experience resists being neatly categorized. To look at the moon in morning light is to encounter duration itself, suspended between what has passed and what has yet to come.