Dialogues with the metropolitan:On Chen-yu Tsai’s Paintings

• Main Authors: Tsai, Chen-yu, 蔡鎮宇
• Other Authors: Chen, Shu - Hua
• Format: Others
• Language: zh-TW
• Published: 2015
• Online Access: http://ndltd.ncl.edu.tw/handle/b2eqkj

碩士 === 國立臺灣師範大學 === 美術學系 === 103 === In the contemporary society, people’s lives are filled with unreal images which conceal truth in various forms. If people still comprehend the society with these unreal images without cautious consideration, it would be hard to tell what the truth would be. I apply this thought to my ways of painting metropolitan images. There should be more ways to comprehend the real society. Besides figurative expression, there would be more techniques of presentation of art as well. Therefore, I reflected what I have done in painting, and attempted to figure out some other ways of painting metropolis. During my studies in graduate school, I temporarily suspended my regular ways of painting and turned to directly observe real scenes, to feel my true affection to them. I portrayed them through my psychological transformation, piled up tiny spots and twisted lines to draw some trivial or fierce emotional changes. Through repeated practices and revisions, my drawings turned into moving and twisted metropolitan images, and they became the projections of my mental images. For me, the ways of drawing seem to be alternative ways of presenting metropolitan images.. Through the process of observation and depiction, and through my unconscious status during my drawing, I felt psychologically connected with metropolitan buildings, and dialogues appear between my mind and my sensation to buildings. The dialogues have been formed neither through my portrait of the shapes of buildings, nor through simple reflection in my mind. They are the consequences of the dialogues between people’s agitation and metropolitan buildings. During my continual practices of drawing, I have not only depicted the figures of buildings and the variation of light and shadows, but also my feeling to these figures projected through the metropolitan scenes in my mind. Through applying these ways of observation to the ways of painting, and through the dialogues between my mind and metropolitan scenes, I grasped the spontaneous feeling and portrayed them on my drawings, and accumulated them into the projection of unstable metropolitan images. This kind of dialogues between my mind and buildings offers me other new ways of observing metropolitan images as well as new ways of presenting my new drawings.