蓋子 The Ring

Beginning with the 2012 prose piece “The Ring,” this exploration delves into the collective consciousness of generational decay through the prism of family memories. Utilizing a spatial arrangement of literature, imagery, and painted installations, it seeks to transform sensory experiences into a poetic expression of experiential authenticity. The thinly applied acrylic pigments faintly emerge on the surface of the canvas, serving as a metaphorical allusion to the texture of woven fabric. Through the interplay between fabric, color, and the act of painting, this discourse navigates the contemplative process from object painting to painting as an object—a representation of collective memory embodied in garments. Its intention is to evoke a connection to one’s own experiences in the viewer.

以2012年的散文〈蓋子〉為起點，透過家庭記憶體現世代流逝的集體意識，以文學、影像、繪畫裝置的空間部署，將感性經驗轉換為經驗真實的詩意表現。 薄塗的壓克力顏料隱約露出畫布表面，是織品材質的某種換喻，藉由布/顏色/繪畫關係的線索，從物繪畫（Object Painting）到繪畫物（再現集體記憶的衣服）的思辯過程，期許觀者連結自身經驗。

“A memory drifting afar, yet a tender imprint upon the soul nearby.”

「既是遠去的記憶，又是近身的心靈觸痕。」

Picking up the prose, I sat on the lazybones and began reading a story about grandmother. As your body touched the lazybones, it was stuffed with grandmother’s clothes, feeling the layers of materials that once enveloped cherished rings (which in Taiwanese dialect sounds like ‘gài zi’) hidden inside. It also held the loving care and tenderness of the elders, always present and thoughtful.

拿起散文，坐在懶骨頭上閱讀一段關於阿嬤的故事，在身體接觸懶骨頭時意識到填充物為阿嬤的衣服，感受曾用多層媒材包裹著珍藏的戒指（台語聽起來像蓋子）藏在裡面，也藏著長輩總是疼惜、體貼的慈愛心意。

Media｜Object Painting, prose, Polaroid, cartilage, lamps, wallpaper

Size ｜Dimensions variable /Object Painting:39X39 (cm)-8pcs

媒材｜物繪畫、散文、拍立得、軟骨頭、燈具、壁紙

尺寸｜依場地而定 / 物繪畫尺寸 39X39 (cm)-8pcs

此為新聞畫面截圖

Note:

作品《蓋子》延伸我於2017年提出的繪畫概念「物繪畫」：

這次的作畫對象是集體記憶中50年代的阿嬤衣服，觀看上先掉入空間裝置的視覺形式，在繪畫史脈絡及抽象繪畫裡來回擺盪，而後藉由畫布的「布」連結衣服的「布」，從側面可看到繪畫延伸至畫布四側的線索，提點了繃畫布的動作，布的物質性再次現身，繪畫技法非美感形式，噴槍上色做出布的渲染感，薄塗加上局部打磨留下畫布基材的質地，顏色選擇則是在阿嬤的舊照片，無數次的早市買菜（觀察）中得到的感知取樣，藉由布/顏色/繪畫關係的線索，提出繪畫觀看的另一種路徑，從物繪畫（Object Painting）到繪畫物（再現集體記憶的衣服）的思辯過程，期許觀者連結自身經驗，繪畫從本體論轉向認識論。

The subject of this painting is the grandmother’s clothing from the 1950s, a representation of collective memory. Upon viewing, one becomes immersed in the visual form of the spatial installation, oscillating between the historical context of painting and abstract art. Subsequently, by linking the “fabric” of the canvas to the “fabric” of the clothing, the side view reveals hints of the painting extending to the edges of the canvas, alluding to the tension of the stretched fabric. The materiality of the fabric resurfaces, highlighting that the painting technique goes beyond aesthetic forms. The use of an airbrush creates a sense of shading that accentuates the texture of the fabric, achieved by the thinly applied layers and selective polishing, exposing the underlying canvas. The choice of colors is derived from the perceptual sampling acquired through countless observations of the grandmother’s old photographs and visits to the morning market (observations). By drawing upon the clues from the relationship between fabric, color, and painting, an alternative path of painting observation is presented, transitioning from object painting to painting as an object, representing the reproduction of collective memory through clothing. It is hoped that viewers will connect with their own experiences, as painting shifts from ontology to epistemology.

文/陳寬育（策展人）

尹子潔的空間裝置作品《蓋子》（2023），以自己曾獲文學獎的散文書寫〈蓋子〉為此次創作起點 。作品結合繪畫與空間裝置，將記憶中阿嬤的「在」，以及如今阿嬤身影之「不在」，像是牆面上那張影像內容已消逝的拍立得照片，或是喜歡拜拜的阿嬤所供奉的佛桌，在阿嬤離去後移走所留下的空蕩蕩壁紙。這些都是曾經存在的情懷投射對象。尹子潔透過家庭記憶體現世代流逝的集體意識，以文學、影像、繪畫裝置營造的空間性感受，將感性經驗轉換為經驗真實的詩意表現。展場中有許多組繪畫，在抽象具象皆具的風格中，連結著阿嬤喜愛的衣著色彩；同時，薄塗的壓克力顏料隱約露出畫布表面，也是織品材質的某種換喻。可以拿起牆面的小冊子，坐在懶骨頭上閱讀一段關於阿嬤的故事，也能在身體接觸懶骨頭時，感受阿嬤曾經用多層媒材包裹著珍藏的戒指（台語聽起來像蓋子），那種長輩總是疼惜著家人、也體貼他人的慈愛心意。

THE 2023 TAIWAN EMERGING ART AWARDS