F l o v" e r

湧 流 / F l o v v e r

Flower=F l o w e r=F l o v v e r=F l o v" e r=Flow + love + lover

我利用掃描機製作了一萬多張的靜態圖檔，每一張掃描出的影像都是玫瑰花在真實世界所存在的時間切片抽樣，每個切片

都是通過感官和經驗作用下的感覺單元，我希望透過取得時間切片來保存不停流逝的感覺，並且收集這些斷裂、不連貫的

切片，試圖藉由手藝去再造玫瑰花的運動狀態，去重新塑造那不停流逝的感覺。矛盾的是，龐大的不連貫抽樣切片所連貫

出的景象，其實只是個破碎的風景，因為過去也永遠不復存在，而存在的只是片刻的感覺。

Flower=F l o w e r=F l o v v e r=F l o v" e r=Flow + love + lover

More than 10,000 images were produced through scanner; each is the microsection of time that extracted from reality. All of the microsections are made by the processing of experience or come from my sense data. With an attempt to keep the sensations that ceaselessly pass by, artist tried to re-create the variation of transitive flower through both artistic skill as well as corporal awareness. However, the huge broken microsections could only fake a broken scene. For the past would never return, only the ephemeral sensations exist.

作 品 論 述

作品自述

001

黃博志過去的創作都是以繪畫或街頭塗鴉（Graffiti）的方式，他非常鍾情於這種街頭塗鴉的方式，除了這是一種自由的

宣洩外，更是需要通過 身體的實踐，這種手藝及身體感的作品首次以數位流動影像的方式表達。 作品【湧流】(Flov"er, 2006)，依照藝術家對於作品英文名稱的解釋：「Flower=F l o w e r=F l o v v e r=F l o v" e r=Flow + love + lover 」，他以

英文「花」及「愛」的字母自創一個新的字，意為一種不斷流動的愛。

如果從工具論來看，他的影像嚴格來說不是錄像作品，因為他並未使用錄像的工具，它較像是動畫，以掃描的方式產生動

態的影像；他不厭其煩的使用掃描機掃描一朵朵鮮豔的玫瑰花至電腦中，掃描的過程中，同時移動玫瑰花的位置，於是造

成一種拖影、殘影、立體感、如微觀攝影般的細膩畫質，這龐雜的製作過程經過 4 個月的時間，一萬多張的掃描圖檔， 然後在修圖軟體中一一修圖，最後再將這些龐大的圖檔放入剪接軟體中剪接完成。我們驚訝於其影像的「陌生的細膩質感」，

一方面是由於作者偏離工具的正常、快速的使用軌道，另一方面作品中埋藏的繁瑣重復的長時痕跡，隱隱地從作品中散 發出巨大的力量。

( 文 / 袁廣鳴，譯者 / 朱嘉曦 )

作品說明

002

Past works of Huang Po-chih have been executed in either the painting format or in graffiti. Graffiti is free of restrictions and is a natural means for release. It requires the cooperation of the physical body in order to bring it into existence. The art form that relies so heavily on both artistic skill as well as corporal awareness is, for the first, being manifested through a digitalized video installation.

“Flov"er”is derived from the following formula : Flower=F l o w e r= F l o v v e r=F l o v" e r=Flow + love + lover It is a play on the letters in the two words “flower” and “love”, the meaning being a love that never ceases to flow. Technically, his digital work is not considered a video because he didn't use recording equipment. It can more closely be described as animation and movement is created through scanning procedures. Huang tenaciously scans every single rose, dripping with color, into the computer. During the process, he shifts the position of the rose so that a sense of a shadow, of the residual, of three-dimensionality appears. The level of resolution rivals that of the images produced by microscopic photography. Such a tedious creative project occupied four months' time and more than 10,000 scanned image files. With photo-editing software, every scanned photo was retouched and modified, with the final step being the consolidation of all these edited pictures into one single series. What surprises us is the images’ “unfamiliarly fine texture”. The artist steered away from the typical, speedy, convenient modes of creation. Consequently, hidden within his works are traces and hints of extended sessions of time spent on their making which in turn subtly imparts a tremendous amount of power and persuasion to the images.

(Writer : YUAN Goang-Ming, Translator : Denise CHOU)

003