2014 Time in Static 靜置的時光 温孟瑜個展
靜置的時光-温孟瑜個展 Time in Static, Wen Meng-yu Solo Exhibition 展期：2014/10/11-2014/11/9 茶會：2014/10/11 3:00pm 地點：槩藝術GAI ART(台北市大安區浦城街9之4號) 生活中，經常被相同的地方吸引著，因此一去再去。 只提供輕食，沒有時間限制，隱匿於住宅區的咖啡店;約莫八十個座位，稍微放鬆時，會不小心碰到隔壁陌生人手肘的小電影院;以及充滿著料理的香氣，總是擺出一桌家常菜的鄰近友人的家。這些場域，成為我們談論生活的地方。它們，是一個個彼此不相連的室內空間，因為在這之中所生的情感與痕跡，漸漸的與我自身所處的空間、時間、記憶彼此連結，成為深刻的過往與生活的樣貌。 我在創作之中，重新構置這些與生活相關的時刻。以場景與生活物件為題，將真實生活的空間，透過撿拾與拼組的安排，時而以想像填補記憶中空缺的部分，時而真切的呈現內在心境的風景。依循著此種方式，將生活裡靜謐、溫潤的情感，歸屬在每個片段畫面裡。 作品中的物件，成為個人鋪陳情感的象徵，它們如此親密與熟悉的被安置在畫面中，藉由物件的擺設，交織出家居場景的情境。我試圖以傢俱比擬為人與人之間關係的化身，暗示觀看的距離與所處的位置，並在平塗的色塊上結合絹版的技法，表現紋樣的部分。絹版，透過曝光與型版的方式製作，將畫面中繁複的圖案與細節濃縮，一體成型的展現在畫布上。對我而言，它是一種簡化的過程。 由場域而生的情感，它們是真實生活中的一隅，透過描繪畫面中的情境，將其置換成自身的空間形式。在這之中，持續建構對於生活的想像與期許，有時，他們是記憶的堆疊之後所投射而出的幻象，有時，則是窗框裡遙遠相望的另一個時空。
Time in Static
In our life, it is the places which appeal to us that we tend to revisit the most.
There is the coffee shop hidden in residential areas, serving only light food, but having no time limits. There are the small theaters. Inside eighty or so seats crammed together with little elbow room causing the occasional outbreak of the War of Bumping Elbows. There is also my friends’ place, not far from mine, which is often filled with the fresh scent of delicious food and delectable homemade dishes could often be seen on the dining table. These are the places I call home. These places are spaces that aren’t spatially connected, but with the emotions entangled and the touches placed, they are connected with the space, the time and the memories of mine, thereby presenting the way I lived.
In my works, I reorganized the timeline of my life. The scenes and everyday objects in my life inspired me. I reconstruct the spaces I live in, insert my imagination into the memory gaps, and try to present my feelings with them. In this way, the peaceful life, and the warming emotions fill the scenes that they belong.
The objects in my pictures become the symbol of my personal emotions. With them placed so intimately and familiarly in the picture, they weave the scenes of home life. I attempt to associate the furniture with the relationship between people, as well as implying the distance between observers and the works. I add serigraphy on the filled color plates to form a kind of pattern. Silkscreen, under the exposure and stencil technique, helps to fade the details of the pictures and shows a concentrated form on the canvas. For me, it’s the progress of simplification.
The emotions risen from places are pieces of reality. By composing the scenes into works, they become forms of spaces in life. In these, the imagination and expectations toward life continue. Sometimes, they become illusions reflecting the memories, and sometimes, they become another space and time we see outside the window frames.
