《序章》
《序章》發想自對其創作媒材—版畫—規則的質疑與悖逆。
為了使每一版次達到「一模一樣」此目的，需要依循嚴謹的刻製、印製、套色等程序，然而在製作時我不禁對那些「要求」感到疑惑：上述所包含的遊戲規則是否真的有助於提升作品本身的價值呢？它們是否反倒是導致創作者綁手綁腳的一種「類別」呢？
以序章為題，我展開了這系列的第一件作品。以板材的邊框作為畫面僅的痕跡(刻痕)，討論被視為「製作步驟」中的磨邊行為，若成為作品的唯一內容，它的存在意義是否等同於刻畫於板材上的記號而後印製的圖像? 若是一張版畫不含有油墨層(顏料層)，他能否能算是一張版畫?
作為系列的開端，序章探了討製作中材料本身的價值所在。
” Prologue “
“Prologue”is an attempt to challenge the rules of the art form of printmaking.
To produce exactly the same result in every print, the artist has to follow strict procedures of carving, printing, and coloring, which led me to question these “doctrines” of the technique: do the set rules really add to the values of the artwork? Or are they really “constraints” to the artist?
Entitled “Prologue”, this is the first piece of a series challenging conventional means of art production. The only traces being the pressing mark from the edges of the block, I am trying to start a dialogue on whether the piece is worth the same as traditionally made prints, carved and printed, if no other steps than polishing the edges are involved in its making? Can a piece of printmaking, but without the paint, be really considered a piece of printmaking?
The first episode of a rebellious series, “Prologue”deals with the values of the materials in artmaking.
序章 Prologue ／102.5 x 77.5 cm ／ 壓克力 acrylic boards／ 2017 ／ 1/1
《一種佔有的方式》
《一種佔有的方式》使用在版畫印製過程被視為「污漬」的指紋，代替「刻痕」成為創作的主角。利用指紋這個生物特徵，成就一件不可重複、不可代為製作，僅等於我且屬於我的作品。
在這件作品中，我強調創作者存在的事實，相較於將意念轉化並製作、刻印於板材上，我的存在即為意念本身，以最直接的方式映照、壓印於壓克力板上頭。
於此，在七十個壓克力板中，我以蓋印的手法將他們佔據、填滿，使他們看似擁有各自的性格及聲音，進行佔據並充滿我的個人意識，更彰顯創作者存在的事實，並且標記左下角1/1版次的記號，帶出並強調無再製的可能性。
” A way to occupy ”
Fingerprints are considered “stains” in printmaking; in “A way to occupy”,however, I chose to focus the work on the so-called “stains” instead of carvings. Fingerprints are a physiological characteristic that varies from one person to another, making “A way to occupy”a work that cannot be duplicated or created vicariously and that belongs only to me.
In this piece of art, I place emphasis on the artist’s existence; in the place of transforming and visualizing my ideas into carvings on the block, my being is the inspiration for this work, and is what I impressed onto the acrylic block.
I herein present 70 blocks of which the surfaces are covered with, or possessed by, fingerprints. They each seem to have their own characters and voices that reflect a portion of my consciousness; possessed by me, they underline the fact that the artist does exist. The one-off number (1/1), meaning it is the first print in an edition of one, in the lower left corner on each block symbolizes its unduplicable nature.
一種佔有的方式 A way to occupy ／102.5 x 77.5 cm ／ 壓克力、油墨 Acrylic boards, print ink／ 2017 ／ 1/1
《點名簿》
《點名簿》是系列的第三件作品,也可視為系列的過渡。我企圖以他來完整版畫的製作程序，呈現製作到銷毀的過程。我將七十個個體進行編碼、刻印，回到傳統版畫的製作程序，藉由拓印留下個別的身影並強調個別的存在。
這也是一種儀式化的過程，經由下刀留下痕跡的瞬間，劃分與《序章》、《一種佔有的方式》兩件作品間的界限，他們不證自明的說出「唯一」的事實，同時也脫離了創作者「我」的個人佔據。透過編碼，他們真正成就了個體自身，各自存在於畫面中，擁有著不相重複的數字與身份。再藉著刻製、印製的過程，拉回版畫製造的程序。
“ Name list ”
“Name list” is the third piece in the series, which also marks the transition to another aspect of my idea. In it, I attempt to present the complete process of printmaking, from production to disposal. 70 units were numbered, carved, as ordained by the conventional code of the art, and their patterns were recorded through rubbing to demonstrate how they were all dissimilar from one another.
Carving marks onto the blocks is a ceremonial action that differentiates “Name list”from its two predecessors, “Prologue”and “A way to occupy ”: the 70 blocks in“Name list” are self-explanatory of their respective “uniqueness”, and they are not possessed by the “self-consciousness” of any artist. With the numbering system, they are independent individuals in a bigger picture, each with a distinct number and identity; through the process of carving and printing, the procedures of printmaking are reintroduced into the series.
點名簿 Name list ／102.5 x 77.5 cm ／ 壓克力、油墨 Acrylic boards, print ink／ 2018 ／ 1/1
《永生樹》
在這件作品中，我將七十個壓克力板以立體雕塑的方式脫離版畫創作的範疇，除了以黏著的方式確保此系列無法重製，更將他們的消逝轉換成另一種的重生。樹的意象代表著他的新生與永續，紙牌塔的造型則帶出我對於版畫規則的挑戰與在其規則中的遊戲嘗試。
遊戲的形象也期望帶出從《序章》－激進的表達手法到《永生樹》－輕快並有趣的轉換，呈現此系列的製作也在許多討論與釐清下對此媒材有更深入的了解與應用，並透過在整個製作流程的嘗試與討論，思考從版畫創作的體制內部有何新的可能性，也於此，將版畫視為一種創作媒材、手法而非一種類別，期許走出規則，更自由的以此媒材進行創作。
“ The tree of eternity ”
In“The tree of eternity”, I adopt the technique of 3-D sculpture in this piece also comprising of 70 acrylic blocks to break the traditional notion of printmaking. Sticking the blocks together takes it impossible to reproduce the work, and the process in a way marks the birth of new lives out of the destruction of their original forms. The image of a tree symbolizes new, or prolonged life, and the overall form reminding one of the house of cards introduces into the work my attempt to challenge and play with the rules of printmaking.
The playfulness brought out by the card game image in “The tree of eternity”, which is very different from the radical expression in “Prologue”, showcases how the series was made after numerous in-dept discussions and clarifications of the medium of art and its application. Throughout the trials and discussions in the making process, I pondered over the possibilities hidden in the general idea of printmaking, viewing it as a medium and technique of art instead of an imposing genre in hopes of breaking the rules and embracing greater freedom in the making.
永生樹 The tree of eternity ／60 x 60 x 52 cm ／ 壓克力 Acrylic boards ／ 2018 ／ 1/1
