虛擬的觀看-陳劭彥繪畫創作論述

Abstract

今日，我們的觀看來源主要來自於螢幕，這些有著大量、瑣碎、表層化的特 質，使得我們難以接收到更完整的資訊，也缺乏深刻體會的經驗。易讀性反而缺 乏感受性，都是目前時代的觀看經驗。因此這樣的觀看經驗促使筆者嘗試去反 思，並回應。 有段時間裡筆者以3D 軟體製作動畫作品，其中受到軟體的操作經驗所影 響。尤其在建模的步驟中，「線構」的模式影響了筆者對觀看的思考。也就是在 物件被解構為線的組成以後，我們所能看到的就只有它的結構關係，卻讓本來容 易辨識的物件表面去除，變得難以辨識。這似乎反思了我們時代的訊息瞬時性狀 態、輕浮的閱讀模式。 電腦處理的科學性與線構影響了繪畫的操作，也帶著虛擬性的特質。筆者以 手繪的方式執行重構對象的角色，在於它擁有人類本能的操作模式。對景觀做出 觀察，其不只營造一個單純景觀，而是在使對像剝離表面，解剖對象，像是剝了 皮之後的物件，剩下的骨肉。又像是解剖了訊息的表面，窺見的內部。重新處理 它們的秩序，使觀者進入其中互為思考的可能。繪畫反而是一種生命流動的存在 證明，回應時代觀看的表層化與瞬時性，也反映了我們習慣的偏差，並在生活中 提供給人類重新思考的位置。 呈現了訊息的虛擬性同時也解剖了它，並再次建構以重新閱讀，形成了「虛 擬繪畫」。繪畫所改變的是觀看上的「延遲」，才得以讓「算圖」過程成為可能。 筆者希望創作除了回應時代，也提供人類緩衝的角色。Nowadays, the main source of watching is the screen which has the characteristic of big amount, trivial, and the surface of seeing. This makes us be not only difficult to receive complete information, but also lack of the experiences of deep understanding. Furthermore, because of the legibility, the lack of sensitivity is the seeing experience of the era. Therefore, this impels the author to reflect and respond to it. During a period, the author works with 3D animation software and was influenced by the experiences of operating the software. Especially the “line structure” mode affected the author’s view of seeing while modeling. After the object is deconstructed into the components of lines, what we can see is only the relation between the structures, which makes it difficult to recognize while the identification of the object has been removed. This reflects the state of the message is transient and the mode of reading is frivolous in our generation. The scientific property and line structure of computer processing influence the operation of painting with the virtual characteristics. The author reconstructs the object by hand-painting because it has a human instinct which is the mode of operation. When making observations of the landscape, painting not only creates a simple landscape, but also strips the object from the surface and dissects the object; for example there are only skeletons and flesh left after the skin of the object is taken away. Furthermore, dissecting the surface of the message, we can have a glimpse of the interior. Rearranging the order makes the viewers be into the possibility of thinking among each other. Instead, painting is the proof of the life flowing that shows characteristics of instantaneous and surface of seeing of the era. It also reflects the deviation of our habits, and provides the availability for mankind to rethink in their lives. Presenting the virtual characteristic of a message and dissecting it at the same time, then reconstructing it to re-read it is the “virtual painting.” What paintings change is the “delay” of the views which makes the “rendering” process be possible. The author hopes that creating could not only to respond to the era, but to provide the buffer roles to human beings.