台灣「美景」 I・DIE ・WANT—Vision of Taiwan ／吳政璋 Wu Cheng-Chang
2007-2013, Inkjet print, 90 x 60 cm (each)
2007-2013, Inkjet print, 90 x 60 cm (each)
〈台灣『美景』〉系列創作表達吳政璋對身處特定環境(台灣)的觀點、經驗與意見。運用光線、時間與特殊材料，吳政璋創造出具有台灣特色的風景影像。
暫停於「美麗」與「不美麗」之間，此系列作品呈現詭譎的矛盾氛圍並嘗試引發觀者的猜想。同時吳政璋也將自己帶入攝影作品中，並使用瞬間強光對臉部進行多次閃曝，而這樣的操作方式不僅顯示著不斷變化的破壞與炫目，更反映著台灣的危難。這樣危難的結果是由一些長期的政策、經濟因素及文化因素所引起，所以身處在這樣的環境中，藝術家多只能選擇「視而不見」。
儘管這顯得悲觀，卻也同時帶來了內省與期望的機會，並最終為藝術家型塑一種樂觀的態度與動機面對台灣。
The artworks showcased in the exhibition come from the photographic series I-DIE-WANT / Vision of Taiwan. This expresses Wu Cheng-Chang’s observations, experiences, and opinion about his experience in this specific environment. Using light, time, and specific materials, Wu Cheng-Chang creates images of scenery that are characteristic of Taiwan.
Suspended between “beautiful” and “not beautiful,” these images present paradoxical contradictions and trigger speculations in the viewer. Also, Wu Cheng-Chang inserts himself in the photography, but he flashes bright light on his face. The operation suggests a dynamics of shattering and blinding that reflects the perils of Taiwan. These are the result of some long tern political, economic, and cultural factors. So, living in this environment, the artist can only “look without seeing.”
Although this seems pessimistic, it also brings an opportunity for introspection and anticipation, that finally shapes the positive attitude and motivations of the artist towards Taiwan.
暫停於「美麗」與「不美麗」之間，此系列作品呈現詭譎的矛盾氛圍並嘗試引發觀者的猜想。同時吳政璋也將自己帶入攝影作品中，並使用瞬間強光對臉部進行多次閃曝，而這樣的操作方式不僅顯示著不斷變化的破壞與炫目，更反映著台灣的危難。這樣危難的結果是由一些長期的政策、經濟因素及文化因素所引起，所以身處在這樣的環境中，藝術家多只能選擇「視而不見」。
儘管這顯得悲觀，卻也同時帶來了內省與期望的機會，並最終為藝術家型塑一種樂觀的態度與動機面對台灣。
The artworks showcased in the exhibition come from the photographic series I-DIE-WANT / Vision of Taiwan. This expresses Wu Cheng-Chang’s observations, experiences, and opinion about his experience in this specific environment. Using light, time, and specific materials, Wu Cheng-Chang creates images of scenery that are characteristic of Taiwan.
Suspended between “beautiful” and “not beautiful,” these images present paradoxical contradictions and trigger speculations in the viewer. Also, Wu Cheng-Chang inserts himself in the photography, but he flashes bright light on his face. The operation suggests a dynamics of shattering and blinding that reflects the perils of Taiwan. These are the result of some long tern political, economic, and cultural factors. So, living in this environment, the artist can only “look without seeing.”
Although this seems pessimistic, it also brings an opportunity for introspection and anticipation, that finally shapes the positive attitude and motivations of the artist towards Taiwan.