Ruins refer to the outdated space of fragments. It is in our lives, coexisting with the present new civilization. Like what German philosopher Walter Benjamin once said, “The beauty of broken ruins brings people wonder and shock at the end of time.” Once I had a chance to explore inside, I felt the fast disappearance of field and time among the ruins. This feeling of “disappearance” is not like the opposite of life. The ruins serve as the starting point of many civilizations, as well as their ultimate home. Like what Benjamin believes, “Time is not important.”Instead, it focuses on the unique “moments” and “fragments” in memories. In certain moments, memories are conjured by body experiences. They have the ability to transcend time sequences, giving off strong signals and transmitting brand new ideas and experiences, prompting the thought process of self-rebirth. The aura reflection of the space of ruins serves as a prediction of the eternal existence of this moment.
This is not a rash travel experience in a desolate house. For me, it is because of this fortuitous opportunity that enabled me to re-examine my own stages of life: Childhood, adolescence, adulthood, and even thirty years of age. There is no denying that change is a process of decay and dissolution. Each change brings different appearances, thoughts, and memories. It is like what Yao Jui-Chung said, “We are not born and then dead. Instead, we keep dying.” Yes, eventually everything will become ruins. In order not to be inundated by time, perhaps I can see the light at the end of the tunnel through some form of expression among the continuous vanishing of the individual.
Painting is a means of self-construction; as civilization began in ruins, shadows follow light, and self-change comes from the changes of the old and new. Through the form of painting, I searched for a plane where I can belong, psychologically pursuing an equilibrium of imagism. I use bleach as a pigment to smear and spray on black cotton to create corrosion and ablation, so it fades out to a relative brightness in the darkness. By observing people, architecture, and decorative symbols, I connect beads and found objects, commonly seen in the family, through sutures to link together the reflections of hallucinations and substance. The creative process is a journey without a destination or making complete use of local materials. Thus, I did not make ideas or preparations for a draft. In fact, I did not use logic to pre-arrange the meanings and images of the picture. Instead, I intuitively invested in some kind of dialogue and interaction in the canvas. In the moment that the work was completed, I found that a lot of meanings were precisely formed. Precisely, inevitable misalignment is by no means malicious. My habit of not making drafts is due to my looking forward to adapting in a plan. It is also the charm that to enjoy sinking in the unseen quiet and forgetting the passage of time among the creative process.