文／林宏信

在這一年因為學校的安排，被派任教授這類基本繪畫課程的機會。

一張（具象）繪畫作品或視覺的構成，該具備什麼？點、線、面、色彩、空間、結構、造型、構圖、肌理、層次、筆觸⋯⋯，這些在繪畫教學中時常被提及的元素，反覆地讓我重新思考。「回到繪畫自身」，重新去建構這些基本的元素，也是這次展覽作品籌備之初，給自己的一個小功課。

「擬仿物」是一張具象寫實作品創作最初的選定，通常，我們去選擇自己想要的，眼睛所及物件、人物、風景為題材；許多時候，這些題材物件都是既有的，已存在的，慣常所見的。在這個時代，我們擬仿描摹的對象該是什麼？數位化時代，我們的日常所見的視覺經驗，除了現實的場景，更多的來自於網絡的、數位的、虛擬的、變造的影像，這些，讓觀者的美感經驗更趨於統一，其特性更趨於精緻、冷調、超現實⋯⋯。也由於今日影像的強大，以及龐大的影像擷取，使今日影像的敘事變得更為直接，易於辨識。因此，在題材的設定上，我選擇了手工製造一些簡易的物件，如以紙張摺成各種幾何的形狀，或以黏土隨意地揉捏成類風景的物件等；透過棚拍、合成、修圖、重構之後，使其部分脫離了物件的原有真實，再加入混合幾何的線條、色塊，在構圖上重新排列，並融入以往我們對構圖的基本學養。

我試圖以真實的物件，透過真實的光影、擺置，去擬仿虛擬、3D影像的效果，而後再以繪畫的手法擬仿於畫布。在這利用點、線、面、色彩、空間、結構、造型、構圖、肌理、層次、筆觸⋯⋯等元素，不斷擬仿、重構的過程中，去推演最後的成像，這些簡單構成的過程，亦是我對於一張具象繪畫的元素的重新思考，以及對於今日影像的反芻。

在『給智者的詩』系列，以極簡的造景方式、黑灰白的低限色調，明確的光影，以及適度的空間感。唯一出現的彩色，是電繡而成的色塊（條）。它像是我們在某個景觀設計圖上的標註，亦或是一個象徵身份的勳章。

『簡單構成』系列，我參考了摺紙、以及一些網上所見3D構成的視覺圖，用簡易取的的紙張隨意的摺成一些幾何造型，透過擺拍，以及事後的合成，將其重新構圖；使其在畫面中穿梭、錯置、對應，再輔以線條、色塊的串連，使其構成視覺與空間的巧妙平衡，與物件之間的某種對應。畫面的物件之間似乎正進行著某種對話，或是類似某種群聚的交流，無意為之的一種類敘事效果。

最後是『慾望』的幾件系列小品，以空白袋子或盒子的造型，擺置於畫面，成為唯一只的視覺中心，加之隱晦的背景或色調氛圍，在空白的袋子或盒子上，似乎人人可以自行腦補，各自表述，揣測或幻想內容物（禮物）；而我的任務，則是在這些物件上玩一些簡單的花樣，加入我的想像，也引導觀者的想像。

這次展出的三個小系列，都是以極簡單物件，極簡單的畫面元素，假的擬仿真的，真的擬仿假的。重新去梳理我對繪畫的知識，並對於今日影像時代的擬仿。

Lin Hung Hsin

In this year, I was assigned to teach such basic painting courses in school.

What should a (figurative) painting or visual composition possess? Points, lines, surfaces, colors, spaces, structures, shapes, compositions, textures, layers, brushstrokes..., these elements that are often mentioned in painting teaching have repeatedly made me rethink the essence of painting. "Returning to painting itself" and reconstructing these basic elements are the assignment for myself at the beginning of the preparation of this exhibition.

"Simulacrum" is the initial configuration for a figurative and realistic painting. Usually, we choose to paint what we want, and take the objects, figures, and landscapes that we see as the subject matter. For most of the time, these are the existing and commonly seen subjects. However, what should we be simulating in this era? In the digital age, our daily visual experience comes from digital, virtual, and altered images on the internet in addition to real scenes. These images, which tend to be more refined, cool tone, and surreal, make the audience’s aesthetic experience more unified. Also, because of the power of today's images and the large amount of image acquisition, the narrative of today's images becomes more direct and easier to identify. Therefore, in the setting of the theme, I chose to make some simple objects by hand, for example, folding paper to make various geometric shapes, or casually kneading landscape-like objects with clay. Through studio shooting, compositing, retouching and reconstructing, the authenticity of some parts of the objects were separated. I then added lines and color blocks of mixed geometry, rearranged the compositions, and integrated our conventional understanding of composition into the works.

I tried to imitate the effect of virtual and 3D images with real objects under real light and shadow with specific placement, and then simulated the images on the canvas with painting techniques. In this process of continuous simulation and reconstruction, I used elements such as points, lines, surfaces, colors, spaces, structures, shapes, compositions, textures, layers, brushstrokes, etc. to deduce the final image. The process of creating these simple compositions is also my rethinking of the elements of a figurative painting, and my rumination on today's images.

In the Poems for sages series, minimalist landscaping, shades of black, gray and white, clear light and shadow, and a moderate sense of space are presented. The only color that appears is the color blocks (bars) made by digital embroidery. It's like a callout we mark on a landscape design, or a badge of identity.

For the Simple Composition series, I refer to the ideas of paper folding and some visual diagrams of 3D composition on the Internet. I randomly fold some paper at hand into various geometric shapes, and recompose them through posing and compositing. By connecting them with the series of lines and color blocks, they shuttle, dislocate, and correspond in the picture, constituting an ingenious balance of vision and space, as well as a certain correspondence between objects. There seems to be some kind of dialogue between the objects in the picture, or some kind of group communication, which turns into an unintentional kind of narrative.

Finally, there are several sketches from the series Desire, which are placed in the picture in the shape of a blank bag or box and become the only visual focus. In addition, with a vague background or color tone, on the blank bag or box, everyone seems to be able to come up their own ideas, express themselves freely, and even to speculate or fantasize about the contents (gifts) inside; my task is to play simple tricks on these objects, add my imagination, and guide the audience's imagination.

The three series exhibited this time are all based on extremely simple objects and extremely simple elements. Through simulating real objects with fake ones, and creating simulacra with real items, this exhibition reorganizes my knowledge of painting, and demonstrates the simulacra of today's image age.