壁上觀──鄭瑩複合媒材創作論述

Abstract

壁上觀是筆者使用複合媒材表現真實虛假，在看似堅硬的各種壁面表現處處都有歷史歲月與生機的感覺，探討都會中與大自然裡不經意的空間虛實與材質的虛實，從平面到立體，從人造虛假到真實物體。藉由微觀、靜觀、視域的推進，凝視無人注意的角落，刻畫時間在自然和人造環境上的痕跡。刻劃著物質，屬於時間的風景。透過牆壁、石壁、山壁、植物的質變，以藝術性詮釋了歲月緩慢卻又具侵蝕性的特質：一種狀似靜態的幽微動勢。在生活環境和在創作過程中，對著所遭遇的「外境」時時觀想，心靈與境界之間會產生感通，領悟無常緣起的原理和萬物共榮共生情懷，將此覺知以創作加以詮譯，期望自然觀察各種壁面並使用現代複合媒材的新材質為介質，闡述佛教裡的 老莊理念中虛實相生的獨特性，傳達筆者心中那虛而實的意象，觀微與微觀的描繪各種壁面的趣味。 創作的形式包含複合媒材平面組合作品和複合媒材立體裝置為兩種，複合媒材平面組合作品最後的呈現以數位輸出和現成物結合，強調真假虛實的影像，複合媒材立體裝置以現成物結合，在空間中創造呈現類自然真假虛實的肌理、空間與境界。筆者將中國的「有無相生」「虛實互動」「真假相參」的美學來經營畫面，西方的新表現主義的技法，表現畫中形象作品，在畫面主軸「壁 」為表現方向，讓作品中的景物，讓作品中的景物，具有視覺上的舞動空間。畫面空間感的塑造上，以複合媒材，真實、虛假等手法，讓畫面從平面到立體的不同層次分三階段呈現。The wall philosophy was created by the author to perform virtual reality with composite materials. Various kinds of wall surfaces look robust, every inch of it feeling historical and vital. It aims to explore the incidentally virtual reality of space and material in the city and nature, which ranges from two to three dimensions, and from artificial to real objects. Through the evolution from microscopic aspects, in-position viewing, and field of vision, the gaze of a corner attended by nobody can find out the time vestiges in the nature and artificial environment. These vestiges on materials are the scenery of time. The artistry based on the qualitative change of walls, cliffs, precipices, and plants, interprets the slow and aggressive characteristics of history: one faint motion looking like stillness. In the living environment and during the creation process, if we constantly gaze at and think about the encountered outer world, we will build up communication between that world and our inner mind, apprehending the principle of evanescence and the sense of mutual prosperity of all living beings. Such sense is interpreted via creation, with a hope to naturally observe various kinds of walls. Besides, the new material of modern composite will be used as the interface to elaborate the uniqueness in Buddhism and in Laozi and Zhuangzi thought of Taoism. The creation expresses the both virtual and real image in the author’s mind to illustrate the delight of all walls with scrutiny and in a microscopic way.

The format of creation includes two artistic works: graphic composition and stereo device composition. The final product of graphic composition is presented as the combination of digital output and real objects to emphasize the image of virtual reality. On the other hand, the stereo device composition is presented as the combination of real objects to create and show in space the semi-natural texture, scope, and conception of virtual reality. The author illustrates the image on the basis of "the symbiosis of existence and non-existence,” "the interaction between abstraction and concreteness," and "the combination of truth and falsehood” in Chinese aesthetics. Skills of Western Neo-Expressionism are used to express the scenes and objects in the work to establish the dancing space of visual aspect. As for the molding of spatial effects, composite materials and the real-virtual methods are adopted to present the image from two to three dimensions through three stages.