迷幻地景 ─ 曾貞源 專訪 ● 你好藝術 Ceng Zhenyuan Interview

採訪｜陳奕揚 2018-09-21

進入了曾貞源的駐村工作室，目光一下子就被牆邊擺放的鮮豔作品吸引過去，仔細端詳起來，好似地圖中的某一角風景。大片的鮮綠、正紅裡，這時是山脈起伏、草原湖河 ; 強烈對比外的深藍、黃與粉，那處又是海岸沙洲、日昇月落。大膽的配色裡更瞧見像是布巾一般的黑白物件拼貼其中。

「宴會餐廳裡套上布套的那種椅子！」我忽然驚呼道。

「還有街上居民曬的棉被。」曾貞源自己也笑了出來。

When entering into Ceng Zhenyuan´s art residency workshop, one gets attracted by the bright artworks placed on the wall, which, when observing the details, resemble something seen on maps. Large sections of green in the middle of red areas represent the mixture of mountains and lakes, where as the stark contrasts of blue, yellow and pink are the sandy coasts, the Sun and the Moon. Amidst the canvases of bold colors, one can also see black and white objects as if pinned on them. 

"It is the kind of cloth which covers the seats in a banquet restaurant", I suddenly hear shouted.

"Or the quilts which people take outside to dry in the sun", Ceng himself now laughs.

《春宴》97x162cm，油彩、影像拼貼、蠟筆，2018

正攻讀清華大學藝設系碩士班的曾貞源，高中是多媒體科系背景，在大學才真正進入純藝術領域，卻更勇於嘗試與數位結合，除了在繪畫中添加影像拼貼、也進行現成物件與投影融合的裝置藝術。一方面也表示實驗精神可能源於自己去到了南部待了些日子，表示南北部藝文風情大不相同，坦言南部展覽活動多做實驗性質嘗試，頗有豪放不羈的氛圍 ; 在北部則感受到多走向精緻路線、俐落且面面俱到。曾貞源看似內斂，在談到南部的藝文經驗時，一度雀躍了起來。

他習慣帶上相機漫步在街道巷弄間，一邊將他覺得有趣的風景樣貌紀錄下來，就連參加親朋好友的活動也不忘拍攝。他拿了些從A4影印紙上剪下卻還未拼貼的攝影素材出來：是些參加婚禮時從宴會館拍攝的絨布椅、或是住戶在路邊曝曬的棉被。將這些在生活中的物件融入畫作之中，化為地景中山陵起伏的一部分、變作花草林木的紋理。轉化物件的意象描繪出另一種色彩地景，企圖用視覺反差打破觀眾們對事物的記憶認知，便是他作品中最耐人尋味的成份之一。

問起為何會用地景風貌的方式呈現創作主題，正是高中時期和朋友出遊時的經驗影響，那時看見阿里山颱風過後的山崩土石受到震撼，又因創作想要考察地貌，隔年故地重遊，未料物換星移，地景風貌又與記憶中的模樣不大相似，就如同打開Google地圖，秀出的街景圖樣卻不是現下看見的狀態，這種視覺印象和時空交錯的感受，成為他想探討的目標。

With his background in multimedia, Ceng, who now studies in the master of the arts program at Tsinghua University, focuses solely on arts despite his brave attempts in incorporating digital properties into his works by not only pinning images onto his paintings, but also by continuing to merge ready-made objects and projections as installation art.

On top of that, Ceng also conveys experimental spirit which might have originated from his days spent in the south. Admittedly, the artistic styles differ from north to south; where the southern exhibitions tend to be more experimental and unconstrained, the northern ones lean more towards exquisiteness and fall for the thorough finesse. When talking about his experience in the south, seemingly introverted Ceng jumps for joy.

Ceng has a habit of strolling the streets and alleyways slowly with his camera, documenting the interesting sights and even photographing the activities of his friends and family. 

He grabs the material consisting of cut-outs from photographs he has taken on A4-sized paper which are yet to be pinned to place: pictures of wedding ceremony´s banquet hall flannel chairs and padded quilts left to dry in the sun, out on the streets. He is to incorporate these everyday objects into his painting as the curvy scenery of the mountains and as the forests of the valleys. The transformation of an object´s construct into a colorful scene done in this way, which breaks the audience´s understanding of that object, via contrasting visuals, is the most eccentric point of interest in his works. 

When asked why the surroundings became a motif for Ceng´s artwork, the story dates back to a trip he took with his friends when he was still in high-school. On that trip he saw the shock that a landslide caused by a typhoon had done to Alishan mountain, and wanting to study the formation of land, he revisited the same site the following year. Without time having played any tricks on the material itself, the scenery had looked different from what he remembered, the same way as the streets seen on Google´s Street View maps look different from their present state. This kind of visual impression, experience altered by space and time, became the target for his observations.

《螢光湖水岸》163x130cm，油彩、影像拼貼、蠟筆，2018

絢爛對比的色彩，是曾貞源的巧謀佈局

當你注視著不曾見過的風景畫，畫作卻慢慢與你記憶中真實的山川影像重疊

拼貼上的紋理，逐步收攏觀者的目光

當你認出時，已然坐上飛椅與棉毯，翱翔在這似曾相識的地景中

一切是那麼的迷幻。

能造就現今的迷幻地景，曾貞源也是經歷了許多的嘗試蛻變而成，翻閱他的創作歷程，就可發現系列作品一路從2016年開始的黑白素描，2017年竟轉為暗沈色調的油彩，才又至現今2018年嘗試對比鮮明的路線。在這一連串的地景描繪中，甚是好奇他色彩轉變的契機究竟為何？觸發點是源於他參加傳統禮俗活動，發覺原來禮儀器物用色是如此絢爛繽紛，因此開始留意起生活中的色彩，也將顏色帶入了創作中。創作的過程有如一層又一層的深掘探索，總有新的體悟與境地冒出來，這些意外都是計畫初起遠遠無法想像的。

In order to come up with the psychedelic scenery of the present day, Ceng has gone through many attempts in transforming his creative process. This can be seen in his series of black and white works starting from 2016, turning into darker tones of oil colors in 2017, eventually having a go at distinctive contrasts in 2018. What exactly is the story behind this series of color changes? 

The spark came from when he attended traditional etiquette event, in which the colors of different instruments felt gorgeous to him and he started to pay more attention to the colors in life, wanting to incorporate those into his works. After all, creative process is about exploring and digging it deeper, layer after layer, thus always coming up with new kind of comprehension and scenes that are impossible to imagine in the planning phase.

曾貞源2016年到2018年之間的用色變化

(左圖)《島嶼憂鬱(一)》50x50cm，鉛筆、丙烯、物件，2016

(中圖)《迷你劇》97x130cm，油彩、影像拼貼、蠟筆，2017

(右圖)《滿載而歸》50x50cm，油彩、影像拼貼、蠟筆，2018

不過這觸發點也讓人不禁追問：主題開始加入了傳統民俗嗎？曾貞源搖了搖頭，並非是刻意去凸顯民俗，僅是追索腦海中恍惚即逝的那種視覺記憶，重新找回那種存於日常中再自然不過的生活體驗，以及拼貼上隨手拍下的攝影物件。或許大家在歸家的路途上，一路上觀察何謂生活的色彩，就能發現五色繚亂的街景招牌、以及街坊鄰居在門前的支架、花草擺盆等等，與曾貞源畫作中所指稱的色彩是何等相似。觀者無不莞爾一笑，曾貞源真把生活的點滴藏匿進地景紋理中了，這時代的人文色彩畫入自然景貌，卻彷彿渾然天成。

聊來說去，講人文日常入畫，又從畫裡談回了生活。這新竹的生活經驗，曾貞源本是在桃園楊梅的住家與新竹之間往返，卻總是遇著竹科的塞車潮，日積月累的作品數量漸多，存放的考量也長成了個大問題，在多方考量下，讓曾貞源選擇轉向申請新竹市鐵道藝術村的駐村機會、也租了住處在新竹安頓下來，多了許多時間來認識這塊地方、偶爾晃去城隍廟、竹蓮市場，體驗新竹的傳統人情味。

Because of this turning point, one can not help but to ask: is the topic going towards traditional folk art? Ceng shakes his head – for highlighting the folk art was not intentional, but just something which came from the top of his head. He is again looking for the kind of everyday experience which exists in nature. Perhaps it is the colors you see when returning home: illuminated signs or flowers swaying in their pots – all of these colors are remarkable similar to what Ceng uses in his paintings. 

People who see his works smile, for Ceng really captures the concealed bits and pieces of everyday life in his scenes unlike many of his contemporaries who paint colorful scenes of nature, devoid of any imperfections.

Ceng used to commute back and forth between his home in Taoyuan city´s Yangmei District and Hsinchu city. Apart from being often stuck in traffic, there was another problem with the need of storage space for his works that had been building up over time. After consideration, Ceng decided to apply for a residency in Hsinchu Railway Art Village and reside in Hsinchu instead, now having more time to become familiar with the city, occasionally visit the temples or the Chulian Market and experience the traditional Hsinchu way of life. 

《物件情節》尺寸依場地而定，照片、物件，2017

《波光粼粼》尺寸依場地而定，鉛筆、胚布、錄像1'57"，2017

前陣子更因機緣認識新竹在地藝文店家 ── 江山藝改所的店長，曾貞源受邀到店內做小型展覽。說起這檔展覽，曾貞源所做的部分裝置藝術使用日常現成物，店家場地不似展場空間容易區別藝術品的空間，讓不少進來的客人在認不出的情況下，一時「無意間移動了」藝術裝置，沒想到這件事竟生成了曾貞源一個新的哲理難題：藝術裝置若在不同的空間環境下改變了觀看的方式，那如何維持作品所要表達的原意呢？當我問到鐵道藝術村年末的駐村藝術家展覽，曾貞源如何佈下他的裝置作品？言談中可以感受到重心從「如何呈現裝置作品」變成「如何認得出是裝置作品」了。

曾貞源是否解開了這個難題？大家不妨來新竹市鐵道藝術村，瞧瞧年底的駐村藝術家展覽！

Ceng was lucky to meet the manager of Jiang Shan Yi Gai Suo bookstore, as he was invited to hold a small exhibition inside the store. One part of Ceng´s exhibition was a set of installations which utilized everyday objects. However, as the venue inside a shop is different from that of a conventional exhibition space, many of the visitors did not know what to expect from the surroundings. The philosophical question Ceng had not thought of when coming up with his "Unintentional space moved" installation, was: if the different exhibition spaces alter the way an installation work is seen, how is one then to maintain the work´s original expression of an idea. 

When I asked, why Ceng´s installation works are covered with a cloth in the Hsinchu Railway Art Village´s resident exhibition, I understood from the discussion that the paradigm had shifted from "how to present an installation work" to "how to recognize, that it is in fact an installation work".   

Has Ceng Zhenyuan found a solution to the problem? 

It is for everyone to see in the Hsinchu Railway Art Village´s resident exhibition in the end of the year.

曾貞源個人網站：

https://dark915t.wixsite.com/tsengchenyuan

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1992年出生，目前居住於桃園，新竹

國立清華大學藝術與設計研究所（在學）

專業經歷

2018  新竹鐵道藝術村，新竹，台灣

2017  青竹絲夏季進駐計畫，澤藝術空間，新竹，台灣

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聯展

2018  日日-曾貞源 許佳琪雙人展，众藝術Zone Art，桃園，台灣

           物件情節，江山藝改所，新竹，台灣

           薩拉曼卡國際繪畫交流展，ZINK Espacio Emergente，薩拉曼卡，西班牙

2017  青竹絲夏季進駐計畫，澤藝術空間，新竹，台灣

          全國美術獎，國立台灣美術館，台中，台灣

2016  生活的證據，東海43號創藝中心，台中，台灣

2015  宜蘭獎，羅東文化工廠天空藝廊，宜蘭，台灣

​         「交陪境」，台灣藝術家博覽會，台北，台灣

           _____的訴說，台南新營文化中心，台南，台灣

           隅光，大東藝文中心，高雄，台灣

2014  腦回訊息，兩倆台南，台灣

2013  兩點聯展，ONE空間，台南，台灣

獲獎

2017 全國美術獎，油畫類入選，台中，台灣

2015 宜蘭獎，油畫類入選，宜蘭，台灣