讓我們藉由視覺 呼吸一口新鮮的空氣

文／李屏宜

十四年的光陰，投注於版畫創作，一開始，覺得創作像是種修行，如今更覺得像是種陪伴與自我實現，希望在作品中緩緩訴出我的生活態度及人生軌跡，在不同階段展現不同風貌。早期，我主要的創作內容以『嫁接』為核心，將過往生活中飼養培植的動植物與夢境畫面進行結合，創造出超現實的場景。中期，發展了貝殼少女系列，表面上依然是嫁接的概念，但其實我開始將自己的形象投射在了畫作上，以自身經驗探索『隱藏』與『裸露』的界線，同時進行一段自我療癒的對話。

2020對我而言是人生一個很大的轉折點，開始定居於台東，第一次駐村池上，同時也歷經了新冠肺炎的大爆發，這些歷程都像是個契機在緩緩告訴我，是時候要打開所有感官好好接收，花東這片土地（出生及居住）帶給我的力量，應懷著感恩向這片一直以來覺得理所當然的美景深深致敬。

｛呼吸：風景｝是一段自家內在探索旅程的開始，第一次嘗試描繪自然景色，平日所見的風景，好似潛伏在體內已久，等待旅程開始的那天。我喜歡運用色彩詮釋東部生活的寧靜與美好，大海的藍、山巒的綠、黎明的紫、晨曦的橘、以及稻穗成熟的黃，這些顏色單單用文字形容似乎太顯狹隘，我所見及記憶中自然景象的千變萬化與幻美曖昧，都想將其細細地調入油墨中印製保存下來。特別的是，此系列作品打破傳統版畫「複數性」的概念，將以往是創作載體不為所見的「版」成為作品的一部分，發展出木板與紙本並置的「鏡像風景」。作品一半是木板隨著單版複刻手法一層層刻除的景致，另一半是紙張上反覆堆疊印製出來的飽滿景色，在削去與堆疊存在著虛實之間的相互對話，鏡像出相異質感的寧靜美好。

疫情時代的這三年中，我的創作持續反芻過往成長的記憶及留駐花東生活間一呼一吸的感受，似乎讓我在動盪環境的包裹下，找尋到自己安生立命的棲所，也希望觀者看見我創作這片寧靜景色的同時，如同深深吸入一口新鮮空氣般，療癒，從眼睛直達到心理。

Let Us Breathe in Fresh Air Through Our Vision

Text/ Ping-Yi Li

For the past fourteen years, I have been deeply dedicated to the art of printmaking. At first, I saw it as a form of self-training, but now it feels like a form of companionship and self-realization. Through my work, I hope to showcase different styles and attitudes at different stages of my life. In the early days, my creations revolved around the concept of “pharming,” which combined elements of animals and plants from my real life with my dreams to create surreal scenes. In the middle stage of my career, I developed the Shell Lady series. This series still seemed to revolve around the concept of pharming , but in fact, I began to project my own image onto the prints. By exploring the boundary between “hidden” and “exposed” through my own experiences, I was able to have a conversation with myself about self-healing.

The year 2020 marked a significant turning point in my life, as I settled down in Taitung and completed my residency at Art Chishang for the first time during the outbreak of the pandemic. These experiences reminded me that it was time for me to open all of my senses to receive the message sent from the land of eastern Taiwan, where I was born and currently reside. I should pay tribute to the beauty that I have always taken for granted with gratitude.

Breathing: Landscape is the beginning of a journey of self-exploration for me. It is the first time I have attempted to capture natural landscapes. It feels like the scenery I see daily has been lingering within me, waiting for the moment my journey began. I like to use colors to interpret the serenity and beauty of life in eastern Taiwan. The blue of the sea, the green of the mountains, the purple of the dawn, the orange of the sunrise, and the yellow of the ripening rice fields, these colors are too rich to be described in words alone. I aim to carefully preserve the ever-changing and ambiguous beauty of natural scenes through inks and prints. In particular, this series of works challenges the concept of “plurality” in traditional printmaking. I make the previously hidden “woodblocks,” which were once just tools of printmaking, an integral part of the work, creating a “mirrored landscape” in which the woodblocks and prints are juxtaposed. On one side, the landscapes are carved out layer by layer using the reduction printmaking technique, and on the other side, layers of ink are printed on the paper to create the landscapes. The mutual dialogue between the cuts in the wood and the layering of colors showcases the tranquility and beauty of heterogeneity in a mirrored way.

During the past three years of the pandemic, my works have continued to reflect on my childhood memories and current living experiences in eastern Taiwan. It seems that I have found a sense of stability amidst the turmoil, and I hope that through viewing the serene landscapes I created, the viewer will feel as though they are taking a deep breath of fresh air and experiencing healing from the eyes to the mind.