Obscurity 晦映

2024 / Kaohsiung Award，Kaohsiung Museum of Fine Arts，Kaohsiung，Taiwan。高雄市立美術館

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Inspired by Jun’ichirō Tanizaki’s In Praise of Shadows, which laments the loss of traditional shadow aesthetics in the wake of modernization, this work seeks to reintroduce East Asian sensibilities into contemporary art. By blending artificial and natural light, it creates a new kind of shadow within brightness.

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Through scientific calculation of negative space and light physics, the work becomes a vessel for color and light. It captures the shifting angle of sunlight based on latitude and time, creating a gradient of color throughout the day. Though it appears sculptural, the true medium is light—rendered visible through a series of forms that respond to environmental light without electricity.

The installation exists only when three elements converge: the physical structure, ambient light, and viewer presence. It is an attempt to engage with the history of abstraction and color field in art, reinterpreted through an East Asian aesthetic lens.

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谷崎潤一郎在《陰翳禮讚》一書中提到，因為現代化的過程，傳統中的陰翳美學消失殆盡。我試圖以當代藝術的形式加入東亞文化的美學，運用人造光與自然光在明亮中創造一種新的陰翳。

 

以科學的方法計算物體中的負空間，研究光線的物理特性，透過創作去製造色光的容器，將太陽因緯度產生的角度以及人體的視覺體驗做計算，當日光隨著時間的變化，作品會產生顏色漸變的色光，是以環境光作為元素的不插電發光作品。作品的實品看似雕塑，但其實是「光線」，但因為肉眼看不見光線，只能看見光源，所以製作了數組光線的載體，經由環境光因時間的變化而讓人感受到「光線場」的存在。整個作品包含了作品載體、環境光源、人的參與才成立。試圖以一種東亞文化的美學來回應藝術中抽象與色域的歷史脈絡。