月亮 9 - 七個月亮  65x91cm  布面油畫  2021年 (私人收藏)

《月亮9－七個月亮》創作理念（1000字）

《月亮9－七個月亮》的創作，始於一段凝視夜空的經驗。那是一個無聲的時刻，月亮懸於天際，卻不止於一顆。視線游移之間，我彷彿看見了多重月亮的影像，彼此錯位、重疊、閃爍，如記憶中未經整理的片段。這些月亮並非天文上的現象，而是一種觀看與心象交錯的結果，一種內在視覺的投射與編輯。

在這件作品中，我刻意打破單一光源與穩定透視的邏輯，讓七顆月亮浮現於不確定的空間中。它們似乎沒有明確的重力方向，不服從於線性時間，也不構成敘事性順序。這樣的處理方式，回應了我對「觀看」本身的質疑：我們所見，是否總是清晰、單一與可言說的？或是，觀看的過程本質上就是一種編碼、轉譯與遺漏？

此作的構圖方式受到「層疊視差」（parallax layering）的啟發。這個術語源自影像處理與視覺心理學，用以描述當觀者移動時，不同景深層次的圖像產生位移的現象。我試圖將這種動態視覺經驗轉譯至繪畫中，讓靜態畫面也蘊含動態觀看的感知錯落。七個月亮，便像是不同時間、不同角度的觀看斷片，在一張畫布上交會，形成視覺的多重軌跡。

色彩與筆觸的運用上，我採取節制與留白的策略。背景未全然填實，而讓畫布的呼吸感得以保留。這不僅是視覺上的留白，也是一種意義的開放空間。畫面不急於填補每一處空隙，而是讓觀看者有餘裕，與畫面中的「不確定」共處。我相信，一幅畫的力量，不在於它提供多少明確訊息，而在於它如何容納觀看的遲疑與想像。

《月亮9－七個月亮》同時也是對「單一真實」的提問。當我們在一幅畫中看見七顆月亮，它們並不必然存在於同一時空，卻在畫面中同時出現。這種視覺邏輯不再服膺於自然寫實，而更接近心靈與記憶的運作方式。它指涉的是我們如何記住事物：往往是重疊的、模糊的、片段的。我希望觀者不只是看見這七顆月亮，而是在觀看中，喚起自己心中那些閃現又隱去的「月亮」時刻。

在創作這件作品時，我也思考了繪畫作為一種時間的容器。七顆月亮或可視為七個不同的瞬間，而畫布則成為將它們並置的場域。這並置不是簡單的排列，而是一種視覺上的「共存」。我借用哲學家柏格森對時間的描述：時間不只是連續的流動，更是一種多重持續（durée），其中過去與現在並不斷裂，而是共存於意識之中。這樣的時間觀念，正是我在畫面中欲捕捉的感受。

最終，《月亮9－七個月亮》並不企圖解釋月亮，而是以月亮為容器，承載觀看、記憶與意識交錯的痕跡。它既是夜的象徵，也是心中反射光的折射。我不確定觀者會在畫中看見什麼，也無意提供固定的解讀；我更在意的是，畫面能否成為一個暫時的共鳴空間，讓觀看者在其中停留，並與自己的內在影像短暫相遇。

Artist Statement | Moonlight No.9 – Seven Moons

The genesis of Moonlight No.9 – Seven Moons lies in a quiet moment of gazing into the night sky. There, the moon appeared not as a singular celestial object, but as overlapping fragments—ghosts of repeated visions, flickering and misaligned. These moons were not astronomical; they were traces of memory, projections of perception. The work departs from depicting a solitary moon, instead offering seven iterations—each floating, dislocated in space and time, suspended within the folds of subjective vision.

In composing this painting, I deliberately disrupted the logic of single-point lighting and stable perspective. The moons do not conform to gravitational rules or linear time. Their arrangement resists narrative sequence, inviting the viewer into a kind of perceptual dissonance. This approach stems from a deeper questioning of vision itself: Do we ever truly see things as they are? Or is what we perceive always already filtered, fragmented, and translated by the mind?

The spatial treatment of the painting was informed by the idea of parallax layering—a term from visual processing and animation, where elements on different planes shift relative to each other as the viewer moves. I sought to evoke this layered instability in a static image, allowing the moons to function like temporal slivers viewed from different angles, converging on a single plane. This simultaneity is not naturalistic; it is psychological, rooted in how memory and presence coexist.

In terms of color and gesture, I employed restraint and intentional absence. Portions of the canvas are left breathing, unfinished, allowing silence and ambiguity to enter. This is not just a visual technique but a conceptual one: the emptiness becomes a space for viewers to dwell, a threshold for imagining. I believe a painting’s power lies not in how much it explains, but in how much uncertainty it can hold—how it makes space for slowness and the unseen.

At its core, Seven Moons questions the authority of singular reality. The presence of seven moons does not imply a linear sequence nor a cosmic anomaly—it suggests a multiplicity of presence, a way of seeing time not as a line but as a constellation. We do not remember life in perfect order; memories surface in fragments, and often, they overlap. My intent is not to paint the moon per se, but to invoke the sensation of encountering something again and again, always slightly askew, always half-remembered.

The painting is also a meditation on how visual art can serve as a container of time. Each moon may represent a different moment, but the canvas holds them all in simultaneous suspension. This juxtaposition of temporalities draws from Henri Bergson’s idea of durée—a kind of duration where past and present intermingle in consciousness, rather than follow a strict chronology. Seven Moons seeks to visualize that co-presence of times, where no single moon is more “true” than another.

Ultimately, this work does not seek to define or decode the moon. Instead, it uses the moon as a vessel to explore the terrain of inner vision. The moons are both luminous and elusive, familiar and estranged. I do not expect viewers to interpret the image in a fixed way; rather, I hope the painting becomes a shared space of resonance—an image that does not conclude, but invites a pause, a reflection, a quiet encounter with one’s own flickering inner sky.