〈夏蔭〉200X200CM亞克力2014

〈夏蔭〉

唐朝詩人劉禹錫的《竹之詞》名句「楊柳青青江水平，聞郎江上唱歌聲。東邊日出西邊雨，道是無晴卻有晴。」假借寫景中的靜水柳動，晴雨無常來隱射愛侶情慾有無之隱喻。這是東方人對情感慾望的含蓄美感的表達形式。

「夏蔭」作品之所以怡人，來自於東方竹柳墨韻隱含著人文詩意的靜謐與靈光乍現之美，在炙熱的暑氣午后中充滿慵懶倦態，生理的裂解中無意識的想像尤為曖昧波瀾激盪，圖像中的原住民裸女與攀樹頑童之錯置移情有土地生成足跡元素和無限的情慾想像世界。

Summer Shade

The "Song of Bamboo Twigs" by the Tang dynasty poet Liu Yu-hsi famously recites: "Green, O green is the willow, placid, peaceful the flow, hark and I hear on the river, songs from my love, my beau. To the east, the sun is up, to the west, drizzles persist; though they say the sun is naught, to me, the sun is aglow". Disguised as the scenery description of still water and a flowing willow, the unpredictable alternation of sunshine and rain serve as a metaphor for passionate love. This is a form of implicit aesthetic expression used by Eastern people for depicting emotions and desire.

The Summer Shade work is inviting. Eastern-taste willows painted with a MoYun technique imply humanistic, poetic quietness and the beauty of a sudden inspiration. On a scorching hot summer afternoon, the air is filled with a languid sluggishness, as the unconscious imagination of psychological dissociation ambiguously billows out. In this image, the misplaced empathy of the indigenous naked women and the playful children climbing trees generate footprints elements and an imaginary world of endless desire.