Essay

Short Film Project| Shin Yung-Chun

藝術家影像計劃|時永駿

時永駿作品的獨特之處,在於他對時間流逝的滄桑感的表現力,不但在二維平面上巧妙地鋪陳出三維立體空間的向度,同時以擦拭、拼貼、暈染或磨損等手法,來製造一種第四度空間的聯想。他捨棄華麗鮮明的現實表象,刻意去挖掘人性深處所恐懼的許多不確定的記憶,那種不明就裡的模糊,深藏在每個人午夜夢迴的夢魘中,不能自主地浮現,卻又無法完全記憶,更不可能去掌握全貌。

在時永駿多數的繪畫作品中,那些看似百般無聊的生活瑣碎事物,往往暗藏了他自己的突兀解讀,那些種種不合乎常規的情節,正是現實生活中經常被人們所忽略的。其實,那正是上一世紀超現實主義那一輩的藝術家,他們所表現出對於夢境的詮釋。時永駿以他獨特的視角,表達各種荒謬、怪誕的生活百態,以繪畫作為一個逃避現實的出口,將一切的不可思議、荒唐虛構都合理化了。他那貼近平淡題材中出人意表的駭人情節,更像是推理恐怖片裡的故弄玄虛,比超現實主義的藝術家所表現的夢境更遠離了現實。

The uniqueness in Shih Yung Chun’s works is the sense of vicissitudes of the fleeting time. Shih Yung Chun not only skillfully lays out three-dimensional spatiality in a two-dimensional space; further, by using techniques of abrasion, mosaic, color-gradation and rubbing, he creates an association to fourth-dimensional space. He discards the vivid surface of reality; instead, he deliberately digs the fear from blurred memories buried in humanity. Such bewildered gloom is hidden deeply inside every horror in the middle of the night. It emerges unconsciously yet can never be totally grasped, much less captured of its clear contour.

Shih Yung Chun conceals his fanciful interpretations in the vagueness of the most trivial things appearing in his works, setting up irrational plots we often overlook in real life. This coincidentally corresponds with the interpretations of dreams from the surrealists in last century. From his unique perspectives, Shih Yung Chun expresses “life” in various quirky and grotesque ways. “Painting” is his exit for fleeing from reality. Here, he is able to rationalize every fantasy and fictional creation. The thrilling plots hidden under ordinary materials in his works are more like the mystifying tricks in horror movies, and are more deviant than from the surrealists’ dreams.


導演 Director |陳彥安 Chen Yen-An
攝影 Camera|楊峻翔 Yang Jun-Siang
音樂 Music composer|章羣 Zhang Chun