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#27

睡著的人看起來都很平靜

劉采璇

睡著狀態下的人總是平靜的,反之。 隨著我們成長,在生活之中制約著社會,進而決定我們意識形態的,是不同來源及強度的拉力與推力,主宰了我們的敏感度、承受力⋯⋯ 以一個角色作為主體聚焦,最初是一種指向性情緒的投射、關係人的承接。看似在畫人實則在回溯不同的情緒記憶,針對一段回憶創造出的環境,作為記憶與想像的產物,以看似平靜的肢體動作,在創作的過程中透過色彩筆觸等等,抽象化一個經歷、故事或揣測中的複雜之處,從層層累積的情感色彩,帶給觀者不安、恐懼、緊張的感覺。 這些平面繪畫作品以寫實手法強化我的針對,透過經驗、觀察及反覆思考的一份紀錄、我正視情緒的方式,延伸出更大的討論空間,讓觀者反思一個人會選擇怎麼去面對(自己、家人、痛苦⋯⋯)。 有時我們會透過眼精、眼神,不自覺的去認識並認定一個人,閉眼即降低人物的辨識度,相較於「睜開眼」是更放鬆、和平、安定、並且專注在環境(整體)的,希望觀者對作品的角色或環境,似曾相識、感同身受。 強調「睡著」為讓觀者從作品中感受到有別於「閉著眼」更單純的狀態;也有別於「死亡」,更多、更豐富的生命與氣息。 Human is always peaceful in sleep. Along with our life, push and pull of different sources and intensities which form social conditioning and then determine our ideology, finally dominate our sensitivity, endurance, etc. In the beginning, focusing on a character to be a subject is for directional emotional projection and a connection between the whole relationship. It seemingly draws people, but actually retrospects emotional memories and creates an environment by a memory. With calm body movements with color, strokes or else, it abstracts the complexity of an experience, story or speculation and then brings oppression and clutter to the viewer. Realism in this series emphasizes directional emotion. This is a kind of record via experience, observation and repeated thinking, which extended the discussion space, allowing viewers to reflect on how a person choose to face (themselves, families, suffering) (with alienation, connection, cohesion, or enmeshment…). With closed eye we can reduce the identification of a person because we recognize and identify someone unconsciously through his/ her eyes sometimes. Furthermore, the state of sleep is simpler than eyes closed, more alive than death, more relaxed and stable than eyes opened, so that the viewers can concentrate on the whole scene. They can have the sense of déjà vu and feel the same as me.