Fire ink 3: On-site Creation and Installation
火墨 3： 現地創作與裝置
Through ritualistic live performance and sacrificial installation, Fire Ink(Fiery Ink) serves as a metaphor for modern survivors standing amidst the ashes of "grand landscapes." It symbolizes the inextricable karmic bond between humanity and the environment. Furthermore, the persistent, uncontained scorch of burning ink at the site provokes the viewer’s immediate senses, creating a visceral presence that lingers long after the encounter.
“Fire Ink” replaces traditional ink with ash from burned xuan paper. Both paper and ink come from trees: xuan paper is made from bark, and through burning, it returns to ash. This both parallels and reverses the classical ink-making process—where wood is first burned into soot, then mixed with glue and water—while Fire Ink transforms paper, made through water, back into ash through fire. It becomes a dialogue between elements, and a rethinking of ink and paper within a contemporary landscape discourse.
I also roll xuan paper into pen-like tools, drawing as they burn. These create finer lines—like a brush dipped in ink—but instead of water, the paper feeds on flame. A process where fire replaces water.
「火墨」透過儀式性的現場行為創作與祭祀性的裝置型式，隱喻著當代生存者佇立在勝景灰燼中，既象徵著人與環境之間不可分的因果關係，也以火墨在場且無封閉的焦灼氣味刺激著觀看者的臨場感知。
火墨的「墨」並非傳統墨條，而是來自燃燒宣紙後的炭灰。紙與墨皆源自於樹，宣紙是樹皮經過水漂製而成，我透過「燃燒」將紙還原為灰，與傳統「焚木取墨」的過程同源而異徑，水墨是先經火取灰再調膠加水，火墨則是先水製成紙再火燒取灰。這不僅是水與火的材質物性對辯，更是對文化物（墨、宣紙）的重新思考運用，更是在當代語境下，對山水畫核心美學的全新論述。
除了使用宣紙炭灰之外，我還會將宣紙卷成筆狀，在畫的時候邊燒邊畫，這種卷筆可以處理較細部的線條，就好像毛筆舔沾硯臺裡磨好的墨汁，紙卷筆則是舔以蠟燭的火燒，這是以火置換水的繪畫過程。
“Fire Ink” replaces traditional ink with ash from burned xuan paper. Both paper and ink come from trees: xuan paper is made from bark, and through burning, it returns to ash. This both parallels and reverses the classical ink-making process—where wood is first burned into soot, then mixed with glue and water—while Fire Ink transforms paper, made through water, back into ash through fire. It becomes a dialogue between elements, and a rethinking of ink and paper within a contemporary landscape discourse.
I also roll xuan paper into pen-like tools, drawing as they burn. These create finer lines—like a brush dipped in ink—but instead of water, the paper feeds on flame. A process where fire replaces water.
「火墨」透過儀式性的現場行為創作與祭祀性的裝置型式，隱喻著當代生存者佇立在勝景灰燼中，既象徵著人與環境之間不可分的因果關係，也以火墨在場且無封閉的焦灼氣味刺激著觀看者的臨場感知。
火墨的「墨」並非傳統墨條，而是來自燃燒宣紙後的炭灰。紙與墨皆源自於樹，宣紙是樹皮經過水漂製而成，我透過「燃燒」將紙還原為灰，與傳統「焚木取墨」的過程同源而異徑，水墨是先經火取灰再調膠加水，火墨則是先水製成紙再火燒取灰。這不僅是水與火的材質物性對辯，更是對文化物（墨、宣紙）的重新思考運用，更是在當代語境下，對山水畫核心美學的全新論述。
除了使用宣紙炭灰之外，我還會將宣紙卷成筆狀，在畫的時候邊燒邊畫，這種卷筆可以處理較細部的線條，就好像毛筆舔沾硯臺裡磨好的墨汁，紙卷筆則是舔以蠟燭的火燒，這是以火置換水的繪畫過程。
Fiery Ink, A Blazing Hot Summer
《火墨．灼熱的夏天》
2024
Fiery Ink, The Blazing Land
《火墨．灼熱的大地》
2024
Fiery Ink, Displacing Guo Xi 's Early Spring, No.1
《火墨．郭熙《早春圖》》 No.1
2015
