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《枕待》

鄒享想

形成環境基本的事物—光、時間、空間,作為無法分割的整體,成就了事物的不同質地,並給予我們所能觸及到最深層的感受,顯著而又匿名。

隨著戰備意識結束,據點由原先的機制退場,化為廢墟,猶如一則時空留下的寓言。穿梭在這一座座空無且靜謐的堡壘中,重新被觸動了感官知覺,持續地響應著這個地方;沿著一束光、一道開口,直覺地將自身於島嶼上的體驗,與內在潛藏著的意象包裹在了一起。於是,我經由繪畫嘗試做出回應,其中隱然可見場域裡的線索。

《枕待》,源於馬祖著名的地標「枕戈待旦」,將其名詞捨去,剩餘的動詞恍若處於時光中漸漸遺忘著的姿態,除卻了目的,而未明地持續著。

現場呈現

《枕待》為兩組作品—《15:00》、《盡頭》,計畫於53據點中呈現。

當進入據點時,目光便不斷投向那些空間中能以作為繪畫載體的尺度,如機槍射口與光影照射的比例,在畫者眼中成為了景窗與畫框。於是依循著這些形象,構造出畫作的載體,也同為畫作的一部份,以某種曖昧的樣貌存在於現場。

Wait till
Tsou Hsiang-Hsiang

Under the shift of the current time, Matsu’s military strongholds was turned into ruins.

Being in such void and silent bunkers, seems to be able to feel the vitality of its own. And the perception of the surroundings was enhanced due to its unique spatiality.

In such moment, it reveals the connection between the reality and the inner imagery of my own, related to the experience of entire journey through the islands.

Thus I tried to respond the feelings of this place through paintings, as if it can be found some trails of this space viguely among them.


"Wait till" includes two pieces -"15:00" and "The Edge", which are planned to be presented in bases no.53.

When entering these bunkers, my sight constantly attracted by certain dimensions that could be associated with a painting carrier, such as the frame of loopholes and the range of light, had transformed into frames in the painter’s eyes. Therefore, following these figures, the carrier of the paintings are constructed, which is also a part of the painting, ambiguously existing in the scene of stronghold.

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