Inner Voice

內在聲音 Inner Voice|楊子逸個展 Yang Tzu-Yi Solo Exhibition

虛擬的與真的似乎已是密不可分,感官的覺察也難以做為辨別真實的受器,我們似乎總被看見、聽見、摸到等等這許多外在的感受所左右著。什麼是真的?是藝術家楊子逸不斷想探索的問題,看(感受)到的不一定是表象的那個樣子,那我們為何而看(感受);我們又憑什麼看(感受)。

尚.布希亞 ( Jean Baudrillard ) 則提出了真實已不存在的論述,所有的事物以及真實已經被物質社會中的「擬仿物」所取代;物品與再現、事物與概念之間的區別也已經失效,擬仿更將自身化作成真實的那一個。這樣似乎一切都混亂的狀態,楊子逸認為可以在山水的哲思裡找到一種方法,靜觀中通達一切自然的道理。如同南朝.宗炳所說:「山水以形媚道」 ,山水乘載宇宙自然運行的道理,將一切事物本質的道理藉由類比山水的運行之原理喻之。所以藝術家也以山水為母題,以其能包含自然萬象反映「道」。

作品畫面是多個好像山石的幾何塊面重複組合,依憑著過去看山水建構出的視覺經驗,每一個塊面的製造與堆疊,就如修行者般,一次又一次的錘煉、自問。以透明、模糊而大範圍的塊面靜置在眼前,營造失焦的、沒有明確對象的觀看,或許就是要在一種混沌中才能有機會直通所謂真實的。藉由那種「模糊不清的」樣子,用身心去體會那種步出蜿蜒林木,望見群山交疊,感受到無限延伸的舒暢與寧靜。

楊子逸沒有意欲去呈現所謂“這個時代的山水”,只是用流傳至今的手法,他磨墨、繃絹、單色墨塊反覆疊加,最後填在上礬的絹布。好像一直盯著透明可以穿透的塊狀物就能夠貫穿表象到達背後的真實。北宋.范寬說:「前人之法未嘗不近取諸物,吾與其師於人者,未若師諸物也;吾與其師於物者,未若師諸心。」或許子逸就和以前的文人一樣,更關注的是心靈不被外物所蒙蔽,但求一心。

The virtual and the real appear to be inseparable, and it is difficult to use our perception as a receptor to distinguish the real. We always seem to be swayed by the many external sensations we see, hear, and touch. What is true? This is the question that artist Yang Tzu-Yi is constantly exploring. Since what we see (feel) is not necessarily what it appears to be, and why do we see (feel); why do we think we can see (feel)?

Jean Baudrillard suggested the argument that the real no longer exists, that all things and the real have been replaced by “mimics” in the material society; the distinction between objects and representations, things and concepts has likewise become invalid, and the mimetic has become the real. As such, it appears that everything is in a state of chaos. He believes he can overcome this through the philosophical thinking of mountains and rivers and understand all the truths of nature through contemplation.

According to the Southern dynasties artist Zong Bing, “Landscapes have a material existence, and yet reach also in a spiritual domain”. In this way, he suggests that landscape carries the principle of the natural operation of the universe, using the movement of mountains and rivers as metaphors. Yang Tzu-Yi, therefore, employs landscape as the concept to express the “principle” of nature.

Yang Tzu-Yi’s paintings are repeated combinations of geometric blocks that resemble mountains and rocks, relying on his past visual experience constructed from observing landscapes. Placing a transparent, blurred, and large-scale surface in front of the eyes creates an out-of-focus viewing experience without the presence of a transparent object. Perhaps only in a kind of chaos is there an opportunity to go straight to the real. With this “indistinct” appearance, one can use their body and mind to experience the sensations of stepping out of the winding forest, seeing the overlapping mountains, and feeling the comfort and tranquillity that stretches infinitely.

The creation of “landscapes of this era” is not Yang Tzu-Yi’s intention. Instead, he uses techniques that have been passed down to this day. He grinds the ink, stretches the silk, lays the single-colour ink blocks repeatedly, and paints on the silk. It seems that staring at the transparent and penetrable block all the time can surpass its appearance and reach the truth behind it. Song dynasty artist Fan Kuan said, ”The previous methods have never failed to take things close to each other. When I learn from others, I am not like a teacher of things. When I learn from things, I am not like a teacher of minds.” Perhaps Yang Tzu-Y is the same as the literati; he is concerned about not being blinded by external entities and seeking a single mind.


內在聲音 Inner Voice|楊子逸個展 Yang Tzu-Yi Solo Exhibition

展期|2022.05.07–05.28
地點|伊日藝術計劃 B1
地址|台北市內湖區新明路86巷1號
時間|Tue. – Sat. 14:00 – 19:00 週日、一休館

Date | 2022.05.07–05.28
Venue | YIRI ARTS B1
Open | Tue.—Sat. 14:00—19:00
Closed | Sun.—Mon.
Add. | No. 1, Lane 86, Xinming Road, Neihu District, Taipei City 114030, TAIWAN