Triangle Series
三角形系列
The paintings of Triangle series meaning the state lives in an incompleteness, vacancies, squeezed, and corners in the cracks. 三角形的畫幅意喻不完整、空缺、缺角、被擠壓的國土，在夾縫中生存的狀態。
Essay no.4
《小品no.4》
2004
Color and ink on linen cotton
棉麻布．彩墨
28x57cm
《小品no.4》
2004
Color and ink on linen cotton
棉麻布．彩墨
28x57cm
Essay no.3
《小品no.3》
2004
Color and ink on linen cotton
棉麻布．彩墨
28x57cm
《小品no.3》
2004
Color and ink on linen cotton
棉麻布．彩墨
28x57cm
Essay no.2
Color and ink on linen cotton
《小品no.2》
棉麻布．彩墨
28x57cm
2004
Color and ink on linen cotton
《小品no.2》
棉麻布．彩墨
28x57cm
2004
Essay no.1
Color and ink on linen cotton
《小品no.1》
棉麻布．彩墨
28x57cm
2004
Color and ink on linen cotton
《小品no.1》
棉麻布．彩墨
28x57cm
2004
Stubborn Sharp
Color and ink on linen cotton
《固執的尖銳》
彩墨．棉麻布
65x133cm
2003
Color and ink on linen cotton
《固執的尖銳》
彩墨．棉麻布
65x133cm
2003
The Lost Space no.2
Color and ink on linen cotton
《失去的空間 no.2》
彩墨．棉麻布
65x133cm
2003
Color and ink on linen cotton
《失去的空間 no.2》
彩墨．棉麻布
65x133cm
2003
Outside the Small Green Valley no.4
Color and ink on linen cotton
《山谷外的小青綠 no.4》
彩墨．棉麻布
28x57cm
2003
Color and ink on linen cotton
《山谷外的小青綠 no.4》
彩墨．棉麻布
28x57cm
2003
Outside the Small Green Valley no.2
Color and ink on linen cotton
《山谷外的小青綠 no.2》
彩墨．棉麻布
28x57cm
2003
Color and ink on linen cotton
《山谷外的小青綠 no.2》
彩墨．棉麻布
28x57cm
2003
Outside the Small Green Valley no.3
Color and ink on linen cotton
《山谷外的小青綠 no.3》
彩墨．棉麻布
28x57cm
2003
Color and ink on linen cotton
《山谷外的小青綠 no.3》
彩墨．棉麻布
28x57cm
2003
Happy afternoon
Color and ink on linen cotton
《幸福的午後》
彩墨．棉麻布
28x57cm
2003
Color and ink on linen cotton
《幸福的午後》
彩墨．棉麻布
28x57cm
2003
Outside the Small Green Valley no.1
Color and ink on linen cotton
《山谷外的小青綠 no.1》
彩墨．棉麻布
28x57cm
2003
Color and ink on linen cotton
《山谷外的小青綠 no.1》
彩墨．棉麻布
28x57cm
2003
The Lose Space no.2 (Triptych)
Color, ink and golden glue on linen cotton
《失去的空間no.2(三聯作)》
彩墨．棉麻布．泥金
130 x 266 cm (3 pieces, 65x133cm each)
2003
Color, ink and golden glue on linen cotton
《失去的空間no.2(三聯作)》
彩墨．棉麻布．泥金
130 x 266 cm (3 pieces, 65x133cm each)
2003
Four Positions (Quadriptych)
Color and ink on linen cotton
《四方》(四組件)
彩墨．棉麻布
86 x 86 x D12 cm (4 Pieces, 65 x 133 cm each)
2004
Color and ink on linen cotton
《四方》(四組件)
彩墨．棉麻布
86 x 86 x D12 cm (4 Pieces, 65 x 133 cm each)
2004
The Lose Space no.3 (Triptych)
《失去的空間no.3 》(三組件)
Color, ink and golden glue on linen cotton
彩墨．棉麻布．泥金
133 x 266 cm x 2 cm (3 pieces, 65x133cm each)
2003
《失去的空間no.3 》(三組件)
Color, ink and golden glue on linen cotton
彩墨．棉麻布．泥金
133 x 266 cm x 2 cm (3 pieces, 65x133cm each)
2003
The Border Island (So close and so far ) (Triptych)
《既近而遠的邊陲之島》(三組件)
Color and ink on linen cotton
彩墨．棉麻布
195 x133 x 2 cm (3 pieces, 65x133cm each)
2003
《既近而遠的邊陲之島》(三組件)
Color and ink on linen cotton
彩墨．棉麻布
195 x133 x 2 cm (3 pieces, 65x133cm each)
2003
Isolated Islands (Triptych, Installation)
《孤島》(三組件), 裝置
Color and ink on linen cotton, wood board, black small stone
彩墨．棉麻布．木板．黑卵石
133x133x133 x H65 cm (3 pieces, 65x133cm each) Stones size depend on site裝置依場地
2004
《孤島》(三組件), 裝置
Color and ink on linen cotton, wood board, black small stone
彩墨．棉麻布．木板．黑卵石
133x133x133 x H65 cm (3 pieces, 65x133cm each) Stones size depend on site裝置依場地
2004
/statement自述
Creative Thought and Metaphor in the Triangle Series
In my creative process, I discovered that the geometric frame of a single equilateral triangle exerts a unique painterly guidance, leading me toward visual experiences and perspectives I had never encountered before. While this bears some similarity to the "triangular composition" often found within rectangular frames, it is not entirely the same. When multiple triangles are combined into three-dimensional forms or polyptychs, the meaning they embody differs fundamentally from both rectangular formats and solitary triangles.
Although the triangle seems at odds with the conventional quadrilateral canvas, using it as the outer boundary directs the eye toward a way of seeing that involves "visual corners" (visual peripheries). This reflects my distinct observation of the external world: "seeing" is not necessarily a scientific or objective act, but a selective one. This selective vision is often fragmented and incomplete.
Furthermore, the Triangle Series, begun in 2003, serves as a metaphor for the sharp and fractured nature of human relationships. The three-sided, three-angled format also holds internal metaphors for national partition, scarcity, and marginality. The so-called "national territory" taught in old geography textbooks does not exist in reality; what truly exists is only the fragmented and marginal remnants of that ideal.
Following the transfer of power between political parties in Taiwan in 2000, this geographical fragmentation and marginality were finally confronted. Thus, in 2003, I sought to use the triangular frame and its various assemblages to express the current state of a territory that is squeezed, incomplete, and struggling to survive within the cracks.
三角形系列的創作思維與隱喻
在我創作的過程中便發現了單幅正三角形幾何邊框所帶來的繪畫性引導，它甚至引導出了我過去所未曾有的視覺經驗與表現觀點。這就與在四邊形畫幅中的三角構圖所代表的繪畫意涵有某種程度的相似卻又不盡然類同，尤其將多塊三角形互相組合成立體或聯作時，它所能成具的意涵不但與四邊形不同更且與單幅的三角形不同。
三角形看似不合於一向慣用的四面形畫面，但以三角形作為畫框邊緣時，卻更能導引出涉及「視覺隅角」的觀看方式，這是藝術家對於觀看外界時不同於他人的發現，延伸到指涉於人的「看」不一定是科學的觀看，而是選擇性的「看」，這種選擇性的「看」，往往帶有殘缺與不完整。另一方面，在2003年開始的三角形系列不僅隱喻著人際關係的尖銳與不完整，此種三邊三角的畫幅形式也隱含了有關國土分裂、匱缺與邊緣性的內在隱喻，過去被地理課本教育的所謂「國土」其實在現實中並不存在，現實存在的只是地理課本所指「國土」的殘缺與邊緣剩餘。
在2000年台灣政黨輪替之後，這個地理上的殘缺與邊緣才真正被正視，於是我在2003年就想透過三角形的畫幅與拼組的形式表現這樣被擠壓、不完整、在夾縫中求生存的國土現狀。
Creative Thought and Metaphor in the Triangle Series
In my creative process, I discovered that the geometric frame of a single equilateral triangle exerts a unique painterly guidance, leading me toward visual experiences and perspectives I had never encountered before. While this bears some similarity to the "triangular composition" often found within rectangular frames, it is not entirely the same. When multiple triangles are combined into three-dimensional forms or polyptychs, the meaning they embody differs fundamentally from both rectangular formats and solitary triangles.
Although the triangle seems at odds with the conventional quadrilateral canvas, using it as the outer boundary directs the eye toward a way of seeing that involves "visual corners" (visual peripheries). This reflects my distinct observation of the external world: "seeing" is not necessarily a scientific or objective act, but a selective one. This selective vision is often fragmented and incomplete.
Furthermore, the Triangle Series, begun in 2003, serves as a metaphor for the sharp and fractured nature of human relationships. The three-sided, three-angled format also holds internal metaphors for national partition, scarcity, and marginality. The so-called "national territory" taught in old geography textbooks does not exist in reality; what truly exists is only the fragmented and marginal remnants of that ideal.
Following the transfer of power between political parties in Taiwan in 2000, this geographical fragmentation and marginality were finally confronted. Thus, in 2003, I sought to use the triangular frame and its various assemblages to express the current state of a territory that is squeezed, incomplete, and struggling to survive within the cracks.
三角形系列的創作思維與隱喻
在我創作的過程中便發現了單幅正三角形幾何邊框所帶來的繪畫性引導，它甚至引導出了我過去所未曾有的視覺經驗與表現觀點。這就與在四邊形畫幅中的三角構圖所代表的繪畫意涵有某種程度的相似卻又不盡然類同，尤其將多塊三角形互相組合成立體或聯作時，它所能成具的意涵不但與四邊形不同更且與單幅的三角形不同。
三角形看似不合於一向慣用的四面形畫面，但以三角形作為畫框邊緣時，卻更能導引出涉及「視覺隅角」的觀看方式，這是藝術家對於觀看外界時不同於他人的發現，延伸到指涉於人的「看」不一定是科學的觀看，而是選擇性的「看」，這種選擇性的「看」，往往帶有殘缺與不完整。另一方面，在2003年開始的三角形系列不僅隱喻著人際關係的尖銳與不完整，此種三邊三角的畫幅形式也隱含了有關國土分裂、匱缺與邊緣性的內在隱喻，過去被地理課本教育的所謂「國土」其實在現實中並不存在，現實存在的只是地理課本所指「國土」的殘缺與邊緣剩餘。
在2000年台灣政黨輪替之後，這個地理上的殘缺與邊緣才真正被正視，於是我在2003年就想透過三角形的畫幅與拼組的形式表現這樣被擠壓、不完整、在夾縫中求生存的國土現狀。