YUAN Hui-Li    袁慧莉

More is Less series blends video art with traditional painting and calligraphy to look closely at the metaphors of time and human life.

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As endless ink dots are layered onto sized Xuan paper, the clear shapes of calligraphy begin to fracture and dissolve, letting a new spatial dimension emerge. This shift from realistic images to abstraction showcases the unique textures and energy of Eastern mediums. Enhanced by animation, it brings out the abstract concept of time and the microscopic relationships between lines and ink stains.

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Layering these dots is like the passing of years. As the white paper fills with black ink, it mirrors how our remaining time in life steadily disappears. It is a puzzle of 'more is less'—where extreme accumulation reveals the balance between fullness and emptiness, and the growth and fading of life. Ultimately, the materiality and spirituality of ink converge into one. The brushstrokes and dots no longer serve to describe an image; they become the subject itself, meant to be truly observed.

 

《時間之漬》運用錄像與傳統書畫的結合方式，凝視關於時間與人生的隱喻。

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在熟宣紙上，隨著無數筆墨點漬的不斷疊加，曾經明顯的書法文字輪廓逐漸斷裂並消隱於模糊之中，而一個新的空間維度隨之浮現。這種從具象（文字或圖像）流變至抽象的過程，既展現了東方材質本身的特質與墨韻張力，也透過動畫後製展現了抽象的時間性與點線墨漬之間的微觀空間關係。

 

點漬的疊加如同歲月的填充，當白紙逐漸被墨跡占滿，亦象徵著人生可支配的餘裕正隨時間消逝。這是一場「多即是少」的辯證——在極致的堆積中，看見實與虛、顯與隱、生命的消長。於是，墨的物質性與精神性合而為一，點線筆墨不再為描繪圖像而服務，而成為被觀看的自身。