More is less series 時間之漬系列
The "More is Less" series explores the "Ink Traces of Time" project, utilizing video and painting to engage in a dialogue with traditional landscape and calligraphy. Through the temporal layering of dotted stains, the work reinterprets the classical "Accumulated Ink" (Ji-Mo) technique, transmuting the painting process into a profound contemplation of time and the vestiges of ink marks.
On sized Xuan paper, as countless dots and stains overlap, a new spatial dimension emerges, while once-defined contours fracture and dissolve into ambiguity. This process of flux—moving from the figurative (text or image) to the abstract—manifests the inherent qualities of the medium and the dynamic tension of Eastern ink aesthetics, bridging traditional landscape and calligraphic brushwork with Western abstraction.
Consequently, the Ji-Mo technique is imbued with a new contemporary vitality, where the materiality and spirituality of ink converge: it no longer serves the depiction of landscape scenery, but becomes an object of contemplation in itself—a metaphor for the passage of life. The layering of dotted stains resembles the filling of years. As the white paper is gradually consumed by ink marks, it symbolizes the diminishing "margin of life" that vanishes with time. This is a dialectic of "More is Less"—within the ultimate state of accumulation, one witnesses the void and the substantial, the manifest and the hidden, and the ebb and flow of existence.
《時間之漬》「多即少」系列計畫探索「時間的墨跡」，運用錄像與繪畫與傳統山水及書法進行對話。透過點漬的時間疊加，重新詮釋了古典山水畫中的「積墨法」，將繪畫過程轉化為對時間與點漬痕跡的深度凝視。
在熟宣紙上，隨著無數點漬的不斷疊加，一個新的空間維度隨之浮現，而曾經明顯的輪廓則斷裂並消隱於模糊之中。這種從具象（文字或圖像）流變至抽象的過程，展現了材質本身的特質與東方墨韻的張力，並將東方山水或書法筆墨連結了西方的抽象。於是，積墨法被賦予了全新的當代生命，墨的物質性與精神性合而為一：它不再為描繪山水圖像服務，而是成為被觀看的自身，以及人生歲月的隱喻。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。
On sized Xuan paper, as countless dots and stains overlap, a new spatial dimension emerges, while once-defined contours fracture and dissolve into ambiguity. This process of flux—moving from the figurative (text or image) to the abstract—manifests the inherent qualities of the medium and the dynamic tension of Eastern ink aesthetics, bridging traditional landscape and calligraphic brushwork with Western abstraction.
Consequently, the Ji-Mo technique is imbued with a new contemporary vitality, where the materiality and spirituality of ink converge: it no longer serves the depiction of landscape scenery, but becomes an object of contemplation in itself—a metaphor for the passage of life. The layering of dotted stains resembles the filling of years. As the white paper is gradually consumed by ink marks, it symbolizes the diminishing "margin of life" that vanishes with time. This is a dialectic of "More is Less"—within the ultimate state of accumulation, one witnesses the void and the substantial, the manifest and the hidden, and the ebb and flow of existence.
《時間之漬》「多即少」系列計畫探索「時間的墨跡」，運用錄像與繪畫與傳統山水及書法進行對話。透過點漬的時間疊加，重新詮釋了古典山水畫中的「積墨法」，將繪畫過程轉化為對時間與點漬痕跡的深度凝視。
在熟宣紙上，隨著無數點漬的不斷疊加，一個新的空間維度隨之浮現，而曾經明顯的輪廓則斷裂並消隱於模糊之中。這種從具象（文字或圖像）流變至抽象的過程，展現了材質本身的特質與東方墨韻的張力，並將東方山水或書法筆墨連結了西方的抽象。於是，積墨法被賦予了全新的當代生命，墨的物質性與精神性合而為一：它不再為描繪山水圖像服務，而是成為被觀看的自身，以及人生歲月的隱喻。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。
More is Less/ Video
時間之漬(錄像系列)
