花蓮白燈塔 (2017台北美術獎首獎) (藝術家:王煜松)
藝術家:王煜松
花蓮白燈塔

  這個作品最初始的想法是我想去寫生,我想寫一個不是眼睛可以看到的景物,而是由寫生的行為概念去感受空間裡的非具象元素而創作。然而我發現寫生之意不在於對象物,而在作品背後創作者面對行動過程的意志及感受,觀者只是透過作品,去想像創作者的行為過程。

  關於對象物,這要從我高中的時候說起,當時因為看到楊牧的文章,知道了白燈塔的存在,那是一個因為港口擴建而被炸掉的燈塔,正在讀高中的楊牧,總是在上課時望著教室外的海還有燈塔,甚至翹課也要去接近它。讀到這篇文章時,因為同地不同時的時空關係,眼前的景像及腦後的想像,兩者不斷的在我身體裡拉扯,那是介於兩個時空的掙扎,彷彿身體於時空中跳躍,在此地卻消失於此時的片刻神遊成為我揮之不去的身體記憶,也因為這樣的記憶,不自覺地對白燈塔有莫名的想像和嚮往,從那個時候就一直想接近這個傳說中的形體。

  過了多年以後,記憶還是不斷在我身體裡縈繞,終於,我鼓起勇氣,再次回到那個讓我無法忘懷的地方,我以一個繪畫者的角色去探尋,我背著一塊寬跟我身高等高的鋼板,行走在兩側都是海的海堤上,聽著海浪拍打在消波塊的撞擊聲,看著大船要出港的模樣,原來白燈塔曾經在這樣的環境裡日復一日的屹立著,到達燈塔被炸毀的地點,我看見水泥地上有一圈圓形的的裂痕,讓人不禁想像這是否試燈塔所殘留的遺址,但仔細一想,那是不可能的,因為這個海堤當時是被打掉重蓋,那不過是日曬雨淋後的巧合罷了!誤讀的經驗使我對燈塔的模樣不敢妄下定論。據以前的人說,炸毀的當下有許多花蓮人來圍觀,他們見證了燈塔落入海底的過程,而那些殘骸就沉落在我下海的區域,堤邊滿是消波塊,我從消波快的夾縫中向下爬,並將鋼板往海裡扔,接著我拿著尖錐在鋼板上刻劃,繪畫的過程是多麼得不可思議!我面對的是身體與自然的抗衡,這時我腦子一片空白,只剩下身體,海流,還有鏡面中的自己,在繪畫的當下完全無法思考,更甭說要畫出什麼具體之物,這時候,要畫出燈塔的這件事早已消失,徒留我要去尋找燈塔的熱情。

  最後我是失敗的,我並沒有找到燈塔的殘骸,也沒有畫出燈塔,但我依舊沒有放棄,我走在附近的海邊,感受這裡的環境,看著周圍的所有事物燈塔的影子似乎離不開我的腦海,我開始撿拾海邊的垃圾,想像那些東西會不會是燈塔管理員的遺留物,於是我畫了一張燈塔的設計圖,那設計圖並不屬於過去,也不屬於未來,而是我正在想像的當下,設計來源是我撿拾的那些"垃圾",然而到頭來燈塔還是沒有一個確切的模樣。

  我常在思考有關繪畫本質和繪畫過程的問題,我們在下筆之前腦中的想像與對象物之間的關係是什麼?繪畫者以繪畫之姿面對世界的心理狀態又是如何?繪畫這個行為意味著什麼?創造?填補想像?又或是延展出具象之外的意象?還是給予一種渴望被再現的補償?也許我一直在找尋繪畫之於我身體的認知,但這就好像是我在追尋燈塔的經驗,越是努力的接近它,就會發現他越多想像的可能,最後明白,最清晰可見的其實是過程。

The idea of this piece of work originated from the thought of me wanting to go sketching. What I tended to create was not something visible, but a work created by experiencing the non-objective elements in the dimension through the concept of sketching, the behavior itself. Nevertheless, I figured that the idea of sketching is about creators’ mindsets and feelings during the whole process, instead of the object. What audience is able to do is simply imagine the creators’ behavior through their works.

            As for my object, it all began when I was a high school student and read an article written by Yang Mu, allowing me to know the existence of the white lighthouse, which was bombed for the expansion of the port. In high school, Yang always gazed at the sea and the lighthouse outside of the classroom. He would try to approach toward it, even if he had to skip classes. While reading his article, due to the different settings in time and space, what I saw and what I thought kept pulling each other inside of me. It was the struggle between two different spaces and time, as if the body jumped back and forth in between. My body was still at the place, but my mind drifted off; this experience became my permanent body memory. It was because of this memory that I was unwittingly lured by this white lighthouse and thus had imagination about it. Ever since then, I had been wanting to come close to this legendary object.

           Years later, the memory had been still lingering inside my body. Eventually, I, with courage, returned to this unforgettable place as a seeking painter. Carrying a steel board as my height, I walked on the seawall with ocean alongside. I watched big boats leaving the port as I was listening to the sound of light ocean waves breaking at the tetrapods. It dawned on me that the white lighthouse had once been standing days after days in such an environment. Upon arriving at the spot where the lighthouse was teared down, I noticed on the concrete seawall there was a crack in the shape of a circle. It made me wonder if it was a part of the lighthouse, but on a second thought, it was not possible. The seawall was built afterwards, meaning that it should be a coincident result from power of nature. I did not dare to jump to conclusions of the actual contour of the lighthouse for my experience of misinterpreting. It was said that many local residents had come to witness the scene of the lighthouse falling apart into the sea. The area I dived in was where the debris had sunk. With tetrapods at the seawall, I climbed down following the crevices between them and threw the steel board into the sea. Then I proceeded with my project using a hand drill to engrave on the board. The experience was unbelievably amazing! What I confronted was the balance/ counterbalance of my body and the nature. My mind went blank. Only the body, water flows and my reflection on the board were left. I could think of nothing when I was creating, not to mention coming up with a concrete creation. At that moment, the thought of engraving the contour of the lighthouse on the board vanished. The only thing left was the passion for me to pursue the lighthouse.

          I did not make it at last. Though neither did I find the pieces of the lighthouse, nor could I come up with the appearance of it, I did not give up at all. I wandered at the beach nearby, feeling and looking at the surroundings. It seemed that I could not get the lighthouse out of my head. I started to pick up the trashes, imagining whether they had used to belong to the lighthouse keeper. Afterwards, I drew a design of the white lighthouse, which did not belong to either the past or the future, but to the very moment that I was imagining. The elements of my design came from the trashes I had gathered; however, there still was not an exact look for the lighthouse ultimately.

          I often think about the essence and the process of painting: What is the relation of the object and the imagination in our head before we paint? What does the act of painting mean? To create? To fill the blank of imagination? To extend imagery out from figurativeness? Or to fulfill the eagerness to be represented again? Perhaps I have been looking for the cognition of painting to my body, as my experience of chasing after the lighthouse. The harder I wanted to come close to it, the more possible imagination of it I would find. In the end, I realized it was the process that turned out to be the most clear and distinct.



   













    



花蓮白燈塔 (2017台北美術獎首獎)
藝術家:王煜松
花蓮白燈塔

  這個作品最初始的想法是我想去寫生,我想寫一個不是眼睛可以看到的景物,而是由寫生的行為概念去感受空間裡的非具象元素而創作。然而我發現寫生之意不在於對象物,而在作品背後創作者面對行動過程的意志及感受,觀者只是透過作品,去想像創作者的行為過程。

  關於對象物,這要從我高中的時候說起,當時因為看到楊牧的文章,知道了白燈塔的存在,那是一個因為港口擴建而被炸掉的燈塔,正在讀高中的楊牧,總是在上課時望著教室外的海還有燈塔,甚至翹課也要去接近它。讀到這篇文章時,因為同地不同時的時空關係,眼前的景像及腦後的想像,兩者不斷的在我身體裡拉扯,那是介於兩個時空的掙扎,彷彿身體於時空中跳躍,在此地卻消失於此時的片刻神遊成為我揮之不去的身體記憶,也因為這樣的記憶,不自覺地對白燈塔有莫名的想像和嚮往,從那個時候就一直想接近這個傳說中的形體。

  過了多年以後,記憶還是不斷在我身體裡縈繞,終於,我鼓起勇氣,再次回到那個讓我無法忘懷的地方,我以一個繪畫者的角色去探尋,我背著一塊寬跟我身高等高的鋼板,行走在兩側都是海的海堤上,聽著海浪拍打在消波塊的撞擊聲,看著大船要出港的模樣,原來白燈塔曾經在這樣的環境裡日復一日的屹立著,到達燈塔被炸毀的地點,我看見水泥地上有一圈圓形的的裂痕,讓人不禁想像這是否試燈塔所殘留的遺址,但仔細一想,那是不可能的,因為這個海堤當時是被打掉重蓋,那不過是日曬雨淋後的巧合罷了!誤讀的經驗使我對燈塔的模樣不敢妄下定論。據以前的人說,炸毀的當下有許多花蓮人來圍觀,他們見證了燈塔落入海底的過程,而那些殘骸就沉落在我下海的區域,堤邊滿是消波塊,我從消波快的夾縫中向下爬,並將鋼板往海裡扔,接著我拿著尖錐在鋼板上刻劃,繪畫的過程是多麼得不可思議!我面對的是身體與自然的抗衡,這時我腦子一片空白,只剩下身體,海流,還有鏡面中的自己,在繪畫的當下完全無法思考,更甭說要畫出什麼具體之物,這時候,要畫出燈塔的這件事早已消失,徒留我要去尋找燈塔的熱情。

  最後我是失敗的,我並沒有找到燈塔的殘骸,也沒有畫出燈塔,但我依舊沒有放棄,我走在附近的海邊,感受這裡的環境,看著周圍的所有事物燈塔的影子似乎離不開我的腦海,我開始撿拾海邊的垃圾,想像那些東西會不會是燈塔管理員的遺留物,於是我畫了一張燈塔的設計圖,那設計圖並不屬於過去,也不屬於未來,而是我正在想像的當下,設計來源是我撿拾的那些"垃圾",然而到頭來燈塔還是沒有一個確切的模樣。

  我常在思考有關繪畫本質和繪畫過程的問題,我們在下筆之前腦中的想像與對象物之間的關係是什麼?繪畫者以繪畫之姿面對世界的心理狀態又是如何?繪畫這個行為意味著什麼?創造?填補想像?又或是延展出具象之外的意象?還是給予一種渴望被再現的補償?也許我一直在找尋繪畫之於我身體的認知,但這就好像是我在追尋燈塔的經驗,越是努力的接近它,就會發現他越多想像的可能,最後明白,最清晰可見的其實是過程。

The idea of this piece of work originated from the thought of me wanting to go sketching. What I tended to create was not something visible, but a work created by experiencing the non-objective elements in the dimension through the concept of sketching, the behavior itself. Nevertheless, I figured that the idea of sketching is about creators’ mindsets and feelings during the whole process, instead of the object. What audience is able to do is simply imagine the creators’ behavior through their works.

            As for my object, it all began when I was a high school student and read an article written by Yang Mu, allowing me to know the existence of the white lighthouse, which was bombed for the expansion of the port. In high school, Yang always gazed at the sea and the lighthouse outside of the classroom. He would try to approach toward it, even if he had to skip classes. While reading his article, due to the different settings in time and space, what I saw and what I thought kept pulling each other inside of me. It was the struggle between two different spaces and time, as if the body jumped back and forth in between. My body was still at the place, but my mind drifted off; this experience became my permanent body memory. It was because of this memory that I was unwittingly lured by this white lighthouse and thus had imagination about it. Ever since then, I had been wanting to come close to this legendary object.

           Years later, the memory had been still lingering inside my body. Eventually, I, with courage, returned to this unforgettable place as a seeking painter. Carrying a steel board as my height, I walked on the seawall with ocean alongside. I watched big boats leaving the port as I was listening to the sound of light ocean waves breaking at the tetrapods. It dawned on me that the white lighthouse had once been standing days after days in such an environment. Upon arriving at the spot where the lighthouse was teared down, I noticed on the concrete seawall there was a crack in the shape of a circle. It made me wonder if it was a part of the lighthouse, but on a second thought, it was not possible. The seawall was built afterwards, meaning that it should be a coincident result from power of nature. I did not dare to jump to conclusions of the actual contour of the lighthouse for my experience of misinterpreting. It was said that many local residents had come to witness the scene of the lighthouse falling apart into the sea. The area I dived in was where the debris had sunk. With tetrapods at the seawall, I climbed down following the crevices between them and threw the steel board into the sea. Then I proceeded with my project using a hand drill to engrave on the board. The experience was unbelievably amazing! What I confronted was the balance/ counterbalance of my body and the nature. My mind went blank. Only the body, water flows and my reflection on the board were left. I could think of nothing when I was creating, not to mention coming up with a concrete creation. At that moment, the thought of engraving the contour of the lighthouse on the board vanished. The only thing left was the passion for me to pursue the lighthouse.

          I did not make it at last. Though neither did I find the pieces of the lighthouse, nor could I come up with the appearance of it, I did not give up at all. I wandered at the beach nearby, feeling and looking at the surroundings. It seemed that I could not get the lighthouse out of my head. I started to pick up the trashes, imagining whether they had used to belong to the lighthouse keeper. Afterwards, I drew a design of the white lighthouse, which did not belong to either the past or the future, but to the very moment that I was imagining. The elements of my design came from the trashes I had gathered; however, there still was not an exact look for the lighthouse ultimately.

          I often think about the essence and the process of painting: What is the relation of the object and the imagination in our head before we paint? What does the act of painting mean? To create? To fill the blank of imagination? To extend imagery out from figurativeness? Or to fulfill the eagerness to be represented again? Perhaps I have been looking for the cognition of painting to my body, as my experience of chasing after the lighthouse. The harder I wanted to come close to it, the more possible imagination of it I would find. In the end, I realized it was the process that turned out to be the most clear and distinct.