​Tensing the void 

〈虛無張力〉

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​2025

Mixed media, Site-specific, Dimensions variable

複合媒材(現地廢棄物),  現地製作, 尺寸依場地而定 

 

我們有如缺席了一場戰爭。

 

這場不存在的衝突，我將其命名為一種「虛無的張力」，當轉譯為視覺上的想像時，我發現是一場有如棋局般機械性的現實，嚴密而制式。

 

線，是張力與脆弱的共存體，「透明」反而強化了其物質本體的存在，令人難以忽視。

 

廢棄物既是這個作品中的主體，也是客體；細線既是客體，也是主體。兩方同時為可預測的必然，與不可預測的偶然，是一個供猜測與恐懼相互置換的空間，也是一場時刻繃緊的賽局。如果「現實」真的緊緊環繞，伴隨著無法言明的壓迫，那「虛無」究竟是如何具有結構與力量？

 

這是一場與日常相伴的「戰爭」，它的「缺席」另我們輾轉難眠。                                                                                                                                                                                                                                                                          
 

「一場棋局像一幅畫，是一個機械的現實⋯⋯棋局本身有一些極端美麗的東西，在於運動的領域，而不在於視覺的領域，是運動的想像力或猜測使得這遊戲美麗。」—— 馬塞爾·杜象

 

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It is as though we have been absent from a war.

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This conflict that never took place—which I term a tension of the void, unfolds—when translated into visual form—as a mechanized reality reminiscent of a chess game: rigid, systematic, and tightly controlled.

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The threads operate as a site of both tension and fragility. Paradoxically, its transparency intensifies the presence of its materiality, rendering it impossible to overlook.

Waste materials and fine threads simultaneously function as the subject and object in this work. Both are at once inevitable and accidental, constructing a space where speculation and fear continuously trade places—a game held in constant tension. If reality indeed presses upon us from all directions, accompanied by an inexpressible pressure, then how might the void acquire structure, and force?

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This is a “war” that accompanies the everyday. Its “absence” is what keeps us awake at night.

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“A game of chess is like a painting—it is a mechanical reality… There is something extremely beautiful in the game itself, in the realm of movement rather than the visual. It is the imagination or speculation of movement that makes the game beautiful.” — Marcel Duchamp, 1971.