展期 Exhibition︱2018.03.03 ~ 2018.04.29
地點 Venue︱穎川畫廊 In River Gallery：台北市中正區仁愛路一段45號2樓
電話 Tel︱886-2-23579900
塵三Chen San / 存在與時間 Being and Time, 130x162.5 cm, 油畫Oil on canvas, 2017
塵三長期鑽研東西方美學，近年來逐漸發展出一套屬於自己的繪畫語彙及技巧，開創出極具個人特色的寫意風格油畫作品。此展「無垠弗之界」藝術家以抽象詩意山水來捕捉無垠宇宙中，心理、精神及物質的種種現象。他不求形似，而重氣韻與神似，以寫其胸中之逸氣。作品構圖極簡、筆觸奔放，在光影的變換與色彩中呈現出山水的靈動與精神，進而觸發觀者深入想像。
塵三不斷從東西方思想中獲得啟發，同時也在生活中得到印證與體悟。此次作品「存在與時間」，即是對西方哲學家馬丁．海德格（Martin Heidegger）思想的呼應，海德格嘗試論述"存有"的時間性，並以過去、未來、現在這三個時間維度，作為視角來窺視"存有"的動態。進而言之，我們對未來的籌劃來自於現在的想法，現在的存在狀態則是由過去種種所形成的，彼此間緊密關聯著，把三個時間維度的可能擴張，安置到為我們所熟知的空間中，讓時間存在於空間中，空間也存在於時間中，作為存在在此顯現的場域，這是海德格對時空的解釋。藝術家塵三企圖將此種時空交融及時間流逝的意涵在畫面上呈現，希望透過畫作，能讓觀者的內心，回復到如宇宙世界般 – 無遠弗屆的寬廣。
塵三Chen San / 荒城 Deserted City, 72.5x91 cm, 油畫Oil on canvas, 2017
塵三從莫里斯．梅洛-龐帝（Maurice Merleau-Ponty）的哲學吸取創作的思想內涵，Maurice Merleau-Ponty 認為藝術能夠從「可見者」中，呈現出「不可見者」。或者說「眼」如何能夠呈現出「心」？梅氏認為：真理的降臨一定要通過我們的身體，正是身體使得藝術對真理的顯現成為可能，通過把身體借給世界，畫家才能把世界轉變成了繪畫。從某個角度來說，宇宙世界與身體同體，身是宇宙世界的化身，畫家之所以能夠看到世界本身的真理，正是因為畫家的身體與世界同體，宇宙世界通過身體而降臨。畫家的繪畫既不是把世界在視網膜上的映象移到畫布上，也不是把畫家的主體觀念強加到事物的變形中；是畫家對世界的領受，世界通過畫家思考自身，並在畫家中生成自身的真理。
塵三Chen San / 海韵Rhythm of the Wave, 72.5x60.5 cm, 油畫Oil on canvas, 2017
塵三認為這種體現「外師造化，中得心源」的心物合一精神，是將外在感官經驗內化為心靈美感，再巧妙呈現的實踐過程。這不僅是外在的學習，也是一種內化的自我修行。畫作也如同是藝術家身體一部分的延伸，希望觀者在看到他的畫作時，可以如同蘋果被握在手中一般具體結實的感受。藝術本身如同一面鏡子，欣賞藝術的同時，也讓每個人的思考可以從內心擴及外在世界，使觀者看完後感到愉悅，並聯想到自己。
塵三渴望在有限的生命裡洞觀無限的可能，帶著熱情與堅持，對存在做極限式的探索。其作品大量借用水墨暈染與書法飛白的表現技法，文人情思濃厚，創造出月明山靜、雲起泉落的明朗世界。也在堅實的油畫功底下，大膽簡化構圖，以肌理堆疊與多彩及光影的變化下，表現如風吹拂的律動感。山川氣象萬千，各種意象或飛揚或潛伏、若隱若現，創造性地表現抽離感與空幻的意境，期待觀者能一探其作品所傳達之宇宙生命的深切本質。
Chen San has long devoted himself to the study of both Eastern and Western aesthetics. In recent years, he has gradually developed his own unique visual language and techniques, creating expressive oil paintings in a highly personal freehand style. In this exhibition, Boundlessness, the artist uses abstract, poetic landscapes to capture the various psychological, spiritual, and material phenomena within the vast universe. Rather than seeking formal resemblance, he emphasises rhythm, spirit, and inner vitality, expressing the unrestrained energy within his mind. His art style is minimalist, his bold and dynamic brushwork depicts shifts of light and shadow and the interplay of colour. He conveys the liveliness and spirit of landscapes, prompting viewers to engage their imagination deeply.
By persistent learning and inspiration from both Eastern and Western thought, while also verifying and internalising these ideas through lived experience, Chen San’s work Being and Time (存在與時間 ) responds to the philosophy of Martin Heidegger, who articulates the temporality of “Being.” Heidegger examines Being through three temporal dimensions, past, future, and present, as perspectives from which to understand its dynamic nature. Plans for the future originate from present ideas, while present state of existence is the result of the accumulation of the past; these three dimensions are closely interconnected. By extending these temporal possibilities into the spatial realm familiar to us, time exists whitin space, and space within time. Together forming the field in which Being manifests. This is Heidegger’s interpretation of time and space. Chen San attempts to visually manifest this interweaving of time and space, as well as the flow of time, in hope that through his paintings, viewers may gain a sense of vast openness, akin to the universe.
Chen San also draws conceptual inspiration from the philosophy of Maurice Merleau-Ponty, who proposed that art can reveal the “invisible” within the “visible.” In other words, how can the “eye” express the “mind”? Merleau-Ponty believed that truth must arrive through the body, as it is the body that makes art possible. By lending his body to the world, the painter transforms the world into painting. From this perspective, the universe and the body are one entity; the body is an embodiment of the cosmos. The painter can perceive the truth of the world precisely because his body is unified with it, allowing the universe to manifest through him. Painting is neither a simple transfer of retinal images onto canvas, nor the imposition of subjective ideas onto distorted forms. Rather, it is the painter’s reception of the world. The world thinks itself through the artist and generates its truth within him.
Chen San believes this reflects the spirit of “Learning externally from nature, while deriving inspiration internally.” A unity of mind and matter. It is a process of internalising sensory experiences into aesthetic feeling, then expressing them with subtlety and skill. This is not only external learning but also an inner cultivation. His paintings extend from the artist’s own body; he hopes viewers will experience them as tangibly and concretely as holding an apple in one’s hand. Art itself acts as a mirror: in appreciating it, one’s thoughts extend from the inner self to the external world, leaving the viewer with a sense of pleasure and personal reflection.
Within the limits of finite life, Chen San seeks to perceive infinite possibilities, approaching existence with passion and persistence through an intense exploration. His works incorporate techniques such as ink wash diffusion and calligraphy, evoking a literati sensibility and creating a luminous scene of tranquil mountains, rising clouds, and flowing springs. Grounded in solid oil painting techniques, he boldly simplifies composition, using layered textures, rich colours, and shifting light to evoke rhythmic movements like the motion of the wind. Mountains and rivers take on myriad forms; images emerge and recede, appearing and disappearing, creating a sense of detachment and ethereal illusion. Through this, he invites viewers to explore the profound essence of comic life conveyed in his work.