此系列作品的創作理念，圍繞在空間的敘事性，以及真實與形象的關係。空間中的物件和擺設方式保留著人的痕跡、記憶和過往，物件（object）也因大量的集合，再度產生另一個場景（Scene），透過真實的圖像，改編創造數個特製的空間和多樣物件，而圖像的解構、片段挪用、拼接和聯想，使內心情感的剪貼在畫布上留下註記和殘像。最終看似截然異樣或相互指涉的存在，都將成為更大整體的一部份。
在現實與虛擬的界限開始模糊的日常裡，時常在網路上漫遊瀏覽他人的照片, 窺看那些似乎確有其事的生活，我會剪貼圖片中「較為誠實」的背景，可能是牆上的擺飾、凌亂的物件，或是後方的窗框和更後方的樹木，當許多不同的「他人」的背後場景成為奇異的拼湊，它們的原始意涵失去意義再延伸意義，剩下一個真實佇立也虛假華美的布景。
「每一道牆壁的污漬都會變成雄偉的後花園，每一扇沒有關係的門都會在呼吸裡相通相連。」–台灣詩人葉覓覓 （註一）
在畫布上有許多無可預期的事情發生，從各類影像中截取的物體和空間，透過繪畫的轉化，再去描繪其相關的脈絡意向，物體和空間在畫面上被安排在新的座位，或許，真實只是將物體投射出虛擬的存在，只能隱約地猜測出真實的殘影。
The concept of this collection is based on the narrativity of space and the relationship between reality and image. An object in a space and the way it was placed reveal the trace, memories and past of a person. Objects, by gathering in a group, form another scene. With images from reality, I re-created special spaces and varied objects. Through deconstruction of pictures, appropriation of pieces, collage and association, my emotions were left as marks and afterimages on the canvas. Eventually, all the existing, whether they seem totally different or closely connected, would become part of a larger whole.
In everyday life, the line between reality and virtuality is becoming blurred. I often browse photos of others online, peeking at those seemingly real moments. I chose to cut out the backgrounds of the photos, since they were relatively closer to reality, such as ornaments on the walls, messy objects, window frames in the back or the woods further behind the window. All these different backgrounds taken from the photos of others came together as a bizarre collection. Each of them has lost its original meaning and extended a new one. In the end, they became an actual scenery of splendor and vanity.
“Every stain on a wall will turn into a magnificent back garden; each irrelevant door will be linked to one another in every breath.”—Ye Mimi, Taiwanese poet
Many of the unexpected took place on the canvas. Objects and spaces taken from different pictures were transformed by painting. In the process of creating a new context, objects and spaces were re-located on the canvas. Perhaps, reality is just the projection of the fictitious existence of objects, from which we can only see the afterimage of realness.
註一：葉覓覓Ye Mimi，台灣詩人，作品曾獲聯合文學小說新人獎、國語日報兒童文學牧笛獎、義大利羅馬影像詩影展最佳影片等。著有詩集《漆黑》與《越車越遠》。
Ye Mimi is a Taiwanese poet and filmmaker. Her works have won many prestigious awards, including the Unitas Literature Fiction Newcomer Award, Mandarin Daily News Reed Paper Award, and Best Film of the 2009 Doctorclip Roma Poetry Film Festival. She is the author of two volumes of poetry, Darknessand The More Car the More Far.
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