牆上的期望 Expectation On The Wall ／李吉祥
2016, Oil on canvas, 146 x 89.5 cm (80M)
2016, Oil on canvas, 146 x 89.5 cm (80M)
隨著影像技術的演進，滿足了人們對於視覺擬真感的慾望。但時間與知覺的延遲卻成為了李吉祥創作的視覺重點。透過攝影記錄影像失焦等效果作為寫實繪畫的輔助，並藉由透明層次的堆疊阻礙影像，他嘗試在練習中賦予超現實主義一種新的感官體驗。如此，使畫作強調出模擬影像的特色並吸引觀者的注意力。
例如李吉祥以花窗玻璃做為模擬鏡頭，呈現出猶如失焦與聚焦的不合理重疊，致使表現與詮釋的創作過程突出於藝術作品中。而僅作為一位創作者，他保持沉默並將這無聲幽微的過程交由觀者，讓他們決定作品是視覺模糊抑或失焦?或可能，這僅僅是因為人們眼花罷了?
Against the evolution of representation technologies, that have been developed for to satisfy a human desire for verisimilitude, the idea of time and delay in perception has become a visual determinant for me. Through the photographic records as props for a realistic painting of visual experience where the subject is out of focus, due to transparent layers that obstruct the view, I try to give a new sense to the practice of hyper-realism. This way, the painting emphasizes the characteristics of the analog image and capture the attention of the viewer.
For example, I have used the reticulated window pane as sort of a component of the analog camera, that provides a focused out-of-focus subject. The processes of representation and interpretation come foreground in the artwork. I just remain silent as the author and I leave the viewers to decide if the image is blurry or actually out-of-focus. Maybe, is it because of the eyes and their capability to focus?
例如李吉祥以花窗玻璃做為模擬鏡頭，呈現出猶如失焦與聚焦的不合理重疊，致使表現與詮釋的創作過程突出於藝術作品中。而僅作為一位創作者，他保持沉默並將這無聲幽微的過程交由觀者，讓他們決定作品是視覺模糊抑或失焦?或可能，這僅僅是因為人們眼花罷了?
Against the evolution of representation technologies, that have been developed for to satisfy a human desire for verisimilitude, the idea of time and delay in perception has become a visual determinant for me. Through the photographic records as props for a realistic painting of visual experience where the subject is out of focus, due to transparent layers that obstruct the view, I try to give a new sense to the practice of hyper-realism. This way, the painting emphasizes the characteristics of the analog image and capture the attention of the viewer.
For example, I have used the reticulated window pane as sort of a component of the analog camera, that provides a focused out-of-focus subject. The processes of representation and interpretation come foreground in the artwork. I just remain silent as the author and I leave the viewers to decide if the image is blurry or actually out-of-focus. Maybe, is it because of the eyes and their capability to focus?