WU, SHANG-YANG
WU, SHANG-YANG
作品 /WORKS
2017 - 2015
有拍有保庇 影像裝置 2017 能夠記錄影像的攝影機或行車記錄器在這個時代的道路交通上有著如護身符般的象徵，護的不是安全， 是人與人之間關於糾紛、詐騙、協助與證據的關係美學──「有圖有真相、有拍有保庇，保障你權益」。
校園繽紛樂 氣球、冷氣風管、壓克力箱 2017 北藝大校園裡的地下美術館是個很浪費電的美術館，不管是非展出時間（比如半夜）還是無檔期狀態，冷氣常 常在沒有人的情況下一直吹著，因為它與樓上學校圖書館的冷氣控制機器是連在一起的。這種設定的疏忽，讓 常常宣導每個系所應該更省電的校方自打嘴巴。 如果要浪費，那我們也浪費的用心一點吧！我牽引了地美館的冷氣製作了大型的動力裝置，讓地美館繽紛起來 的背後，帶有諷刺和批判。
說一個秘密：在海上遠望陸地 影像裝置、攝影輸出 2017 參照香港好友江耀榮的作品《說一個秘密》，結合動態影像（左）與靜態輸出（右）營造一個浪漫的 虛擬對話。
無題系列 攝影輸出 2016-2014 白光投影在畫布、白牆和各種紙張上，用攝影機拍攝下來時，白光會轉變為虹光（摩爾紋）。 黑暗中光的亮不僅讓物體的材質清晰可見，也隱隱約約可在黑暗中摸索此時此刻的空間關係。
三芝三年展 國際地景藝術祭 計畫、攝影 2016 一群來自臺灣、馬來西亞、香港等各國的創作者和策展人，一同開藝術圈一個玩笑。 我假扮自己是來自印度的藝術家，進行 108 顆巨石串佛珠的地景藝術。
北投計畫：迴文 投影裝置 2016 溫泉的變遷如何製造一種互問性？ 蔡明亮的影像、歐美日常的泡湯對話聲與北投廢棄溫泉池，彼此錯置、銜接，在溫泉的文化脈絡裡彷 彿都是一起流動的。
虹化系列—水管 投影裝置 2015
仙渡莊計畫 II：彼岸 影像裝置 2016 貼著綠紙的電視機在電視螢幕裡頭看起來，彷彿正播著綠光。 當影像本身帶有某種移動性時，影像的載體就會更清楚的被注意。
第一屆水田部落行為藝術節：賴床 行為記錄 10'15'' 2016 我告訴自己該做的刷牙、洗臉還是要做的，但即使枕頭被抽走、身體被拖出帳篷、被瘙癢、被賞好幾 個巴掌、被悶死，不管如何只要我還想睡，我都不會起來的。
美術創作卓越獎 影像的縫隙：影化身 投影裝置 2016 這個時代我們都是看著無法透析的影像長大的，影像的圖層造就了現場沒有想像中那麼單純：影像與 裝置有著說不出的微妙關係，似乎藏著玄機和距離、神祕而弔詭。
陷落當下的恐慌：漏虹 投影裝置 2015 附著在好友蒲帥成的作品《秘密的總和 - 午後》旁成為燈箱的漏光或影子。 樂觀的人，即使恐慌時也會哼着歌。
風景 就在紅樹林 投影裝置 2015 給予一個未成為窗的「口」在風景畫脈絡的新位置，希望它能找到曾經失去的歸屬感。 窗外投射在巨石上的虹，是簽名，也是貫穿這幾幅畫的透視點。
仙渡莊計畫：關渡的過客 訪問錄像 13'48'' 2015 請從事性交易的小姐來到仙渡莊旅社進行交易（訪問）。 最後我們擁抱道別，彼此是彼此的過客。
創作自述 /Artist Statement
小學時，我的右眼因重創失去了水晶體。「人如何以肉眼觀看機器 ; 機器如何以科技眼觀看人」是我 關注的議題。 我喜歡運用不同的觀看方式來操作影像的層次，並建立與之載體的關係，它們使我意識到自己右眼的 經驗，也看見影像的政治性。我的作品常讓影像與裝置彼此間有著說不出的微妙關係，似乎藏著玄機 和距離、神祕而弔詭，這是媒體的特質也是我希望能給與觀眾的感受。對光敏感的人自然會透過遮光 或是任何身理方法去觀察或解析我對機器的應用，但不重要，這個時代我們都是看著無法透析的影像 長大的。 不管是「說一個秘密：在海上遠望陸地」裡頭，旗子的上下漂浮在動態影片與靜態圖片之間的錯視， 或「仙渡莊計畫 II：彼岸」的電視機，綠紙在螢幕播出後成了綠光，或「影像的縫隙：影化身」的多 圖層手機影像，我都在某種「誤視」或「視覺混亂」中尋找視覺經驗的方法。隨著科技發展影響著我 們的身體，這樣的影像對我來說是無比當代性的。 「無題系列」是我大學時期就開始做跟光有關的實驗性攝影，當時我較迷戀立體的影像裝置帶給我的 臨場感與氣氛，所以一直沒有機會好好處理平面的它們。去年暑假我長期與之共處，試著深入了解它 們在我的創作脈絡裡到底在什麼位置或有著什麼影響，也嘗試了各種實踐的方法產出一些心得：雖然 平面的靜態影像無法像影像裝置或投影裝置一樣如此直接的透過機具邏輯來營造我的世界，但它們像 是我在做立體裝置前重要的草圖，卻不單只有草圖的功能。「虹」的動態影像對我來說是感性而浪漫 的，而靜態影像能讓我抽離眼前的感性知覺，可以更單純而客觀的專注光在不同的材質與空間中虹化 後的關係與美學。
相關評論 /Other Criticism
收之桑榆 : 吳尚洋作品中的「以太」
撰文 / 邱柏廷
萬物負陰而抱陽 , 沖氣以為和。 --- 老子
導論 以太 (Aether) 在古希臘原指的是眾神呼出的氣息 , 哲學家亞里斯多德 (Aristotle) 用其命名光得以傳遞 的 介質。光的明暗及顏色呈現造成了五花八門的視覺感知經驗 , 古今視覺藝術家在創作中不斷探問觀 看 的可能 , 豐富了人類文化的樣態。 俗語中 , 無論西方以《浮士德》(Faust) 為本的「魔鬼交易」或中國成語「失之東隅 , 收之桑榆」, 都 是影射主人翁似乎在生命的某個時刻 , 付出了重大代價以換取今日人們眼中的「天才」表現。然而 , 關 於藝術創作方面的討論 , 多見於腦神經科學方面研究 , 其中研究旨趣又絕大部分又與精神失序 ( 如躁 鬱症、精神分裂、妥瑞氏症等 ) 或是藥物濫用的情形相關。那麼在視覺相關領域又是為何呢 ? 當藝術 家 眼睛出了問題 , 對創作會有什麼影響呢 ? 青年藝術家吳尚洋的創作就是這類議題的例示之一 , 吳在眼疾的經驗中 , 積極開發視覺作品的另類溝 通管道。他擅長以分光的效果作為自己作品的風格 , 並且嘗試據此引發觀眾思索機器如何觀看 , 人又 如何觀看機器的議題。在這篇文章中 , 除了呈現筆者自己解析藝術家作品的嘗試外 , 我將整理跟吳尚 洋創作脈絡相關的其它藝術作品或藝術家經歷 , 經由筆者的整合 , 捕捉吳之作品的拓樸位置。
殘缺及其利用 --- 印象派的另類起源 受到眼疾侵擾時 , 在創作上影響最明顯 的當屬畫家了。藝術史上最令人津津樂 道的例子莫過於莫內 (Claude Monet) 與 竇加 (Edgar Degas): 莫內飽受白內障之 苦 , 創作隨著病情加重 , 眼睛逐漸不能 接收短波長的色光 , 因此他的風景畫作 變得像是加了暖色濾片一般 , 紫色與藍色調退失於畫作中 , 紅 色、黃色與褐色充斥。在手術後藝術家才重拾自信 , 繼續創造如《睡蓮》(Water Lilies) 這樣的系列傑作 ; 竇加則是在眼疾加重後 , 作畫筆觸明顯益加變得粗獷。然而 , 這裡重要的一點 是 , 由上述描述看得出來 , 莫內在患眼疾時 , 創作上更聽從自己的感知經驗 , 而不是客觀忠誠地表現 作畫的對象。同時期 , 藝術家 朱爾 ‧ 夏黑 (Jules Chéret) 曾經以特殊的畫面構圖與高超的石板套色技術 , 製作出許多「艷麗如花」 的海報而享譽盛名 , 甚至靠著這些海報舉辦了個展 , 但後來夏黑得了青光眼 , 影響其創作生涯 , 莫內亦 為之扼腕【註一】。 從十九到二十世紀 , 遭受眼疾之苦的藝術家各自調適疾病對創 作上的影響 , 而一直到廿一世紀 , 才有眼 科學家號召各領域專 業人士蒐羅 , 並系統性整理藝術家檔案 , 讓我們能夠更加親近 這些人的創作生命。 藝術史如何定義「印象派」, 也將隨著越 來越多相關科學研究改變。那麼吳尚洋是如何處理自己的視 力 「問題」, 搖身一變成為他創作最主要的關懷、策略以及意義 追尋的目標呢 ? 上述舉出莫內創作的 例子 , 是為了對應到吳 , 同樣地希望將自己的感知經驗 , 分享給觀眾的企圖。
流動視域 --- 歐普藝術與 Bridget Reily 儘管藝術家自己拒絕承認 , 英國畫家布莉姬 ‧ 萊莉 (Bridget Riley) 仍被後人視作歐普藝術 (Op Art) 最 具 代表性的藝術家。1965 年紐約 ,《靈敏的眼睛》(Responsive Eye) 聯展在現代美術館登場 , 歐普藝 術 在藝術史上屹立 , 萊莉的名聲一炮而紅。策劃人威廉 ‧ 賽茲 (William Seitz) 相信這些藝術作品反映 了當 時戰後的科技發展 , 寫到「一個得以讓藝術家、設計師、眼科及科學家交會之處被建立 , 對視覺 感知 的知識與享受也得以拓展開來」【註二】。 萊莉的作品引起著名藏家賴瑞 ‧ 阿奇志 (Larry Aldrich) 的注 意 , 兩人安排會面後 , 萊莉對阿奇志引用 作品《躊躇》 (Hesitate), 委託製造布料的舉措深感頭痛。事實上 , 在那 次引發廣大「迴響」的展覽後 , 歐普的技法被大量使用在 時裝造型上 , 上流社會趨之若鶩【註三】。我們可以想到 1938 年《國際超 現實主義展》(Exposition Internationale du Surréalisme) 中 , 藝術家如何以各種奇妙的方式妝點展 場 的假人 , 只是這次 , 藝術家萊莉並非自願參與布料印製的 工作。 為 何 萊 莉 會 如 此 頭 痛 呢 ? 也 許 一 篇 報 告 可 以 解 答 : 學 者 透 鐸 (Gert J. van Tonder) 於 2010 年 發 表 的 文 章 〈 布 莉 姬 ‧ 萊 利《 墜 落 》 中 , 感 知 上 的 干 擾 與 鎮 靜 作 用 〉(Perceptual Disruption and Composure in Bridget Riley’s Fall)【註四】, 以科學分析觀看作品《墜落》時 , 不同的視點挪移造 成注意力同樣挪移的現象 , 發現作品的線條構成並不是如表面看來的一成不變 , 透過些微改變線條的粗 細 , 作品會引導觀眾的視 線從由疏到密的區域進行鋸齒狀的掃描。結果顯示這幅繪畫作品仍然保有它 的整全性及自足性 , 跟電 腦計算出的「紋樣」有所區別 , 難怪萊莉會在看到作品竟然淪為裝飾用途的 時候 , 會又驚又怒了。 但透鐸的研究同時證明 , 不管怎樣 , 策展人賽茲仍然精準地點出了歐普藝術的觀看梗概 :「這些作品 不 太是作為給人檢視的物件而存在 , 而應被當作為求眼與心在感知上進行回應的觸發器」。吳尚洋進 行 的後設創作 , 也是操演著相同的策略 : 從光到溫度 , 透過併置高度對比的線條、塊體或溫差極大的 空氣 , 期望觸發觀者感知自動進行歸納或分離的動作。在下一節中 , 我將分析吳長期發展的系列作品 《影像 的縫隙》中 , 使用的科學 / 科技基礎。
當代藝術中的虹彩 藝術家提到自己將持續以作品 , 關注科技與人文與之間的關係 , 創作論述中提到了自己是站在低科技 的位置 , 那麼我們該怎麼來看這個「低」, 或說低到什麼程度呢 ?
《影像的縫隙》從一場小小的意外發生 , 吳尚洋在使用手機紀錄投影訊號時 , 發現因為訊號端與接收 端的頻率有些微的差異 , 時間差使得波長不一的色光被分離 , 導致影像出現虹彩的效果。日常用語統 稱為摩爾紋 (Moiré pattern), 通常 , 這種現象應該會被視為「雜訊」而被致力解消 : 從傳統 CRT 電視、 LCD 螢幕 , 到電漿技術 , 顯示器為追求高品質解析度 , 無不致力將 RGB 顏色訊號區塊越縮越小 , 使 人 的肉眼在合成的作用下 , 越來越不意識到三原色訊號的分離事實。但吳希望特別放大這一點 , 特意 以 不同方式製作 , 成為藝術家以「虹化」形容的風格。 雙狹縫實驗的出現 , 是為了探討光在干涉及繞射行為中 , 證明波動性或 ( 和 ) 粒子特性。今日 , 它已經 是科學界公認最重要 , 也是最美的實驗之一。十九世紀時 , 湯馬仕 ‧ 楊 (Thomas Yang) 奠定其操作基 礎 , 之後經由許多物理學家各種嘗試與貢獻 , 使得雙狹縫實驗橫跨普通物理跟量子力學的領域 , 均具有 不 可或缺的地位。在藝術領域的應用 , 可以想到全像 (Holography) 技術在 1970 年代的發展。如今 技術已 然普及到日常 , 在每個人的信用卡上 , 都有以全像技術製作的防偽貼紙。吳尚洋錄製的訊號效果 , 亦 顯示出光的干涉與繞射性質 , 使影像以 Sinc 函數的方式分出明暗、顏色不等的區域。 甫於 2016 年初結束的《變文書─陳界仁影像、生產、行動與文件》展覽中 , 立方計劃空間展出藝術家 一件裝置《不可能體會的痛》: 在牆上以幻燈片模式投影出漢生病相關之資料圖檔 , 包含掃描出的說 明 文字跟病菌切片影像 , 相對於投影端的位置 , 架設一具從樂生院區帶出的電視機殘片 --- 屏幕。透過 這 片屏幕觀看牆面 , 眼前除了可能的灰塵 , 屏幕也因玻璃上螢光塗料的老化 , 將牆上影像模糊。兩個 視 角呈現的 , 不是謎題與謎底的關係 , 正如作品題目直白但富含情感地提點出 , 完整的過去 , 跟當事 人的 傷痛 , 無論以傳媒報導或檔案收集的方式 , 都不可能觸及到太多 , 因此相對其對象而言 , 兩個作 品視點 的距離可說是微乎其微。透過上述操作 , 陳激進地點出「不可能」體會的絕對性。這裡我們可 以看出 , 在藝術創作中 ,「模糊」影像反倒能最「清楚」表達強而有力的情感。 磁振造影 (MRI)、正子造影 - 電腦斷層掃描 (PET/CT) 技術 , 均為當代醫學中非侵入性檢查 , 進行癌症 篩 檢的主要應用。香港放射科執業醫師馮啟雄 (Fung Kai Hung) 亦進行藝術創作 , 在他發表的短文中 【註五】, 把自己的掃描稱做「彩虹技巧」, 宣稱把歐普藝術的二維向度 , 提升到三維 , 甚至四維的境界。 醫師 並將他的科技藝術 , 發表於 2008 年的《數碼演義》展覽中。我們可以看到 , 從新媒材開發來看 , 科技 運用下的歐普藝術 , 走到了這裡。 也就是說 , 吳尚洋宣稱的低科技應該從相對位置來看。其實 , 應該意味著作品材料組織方式的簡單性 , 而非科技運用上的單純 , 因為就是科技精緻化的發展 , 使得複雜的物理作用 , 成為了藝術家創作中的 「現成」媒材。
續談作品影像 前面已經簡要說明一些吳尚洋作品中的可能發生要件跟觀看脈絡 , 接著我要問的問題是 , 究竟為何他 如此醉心於使用「虹化」技巧 , 而造成的效果又是什麼 ?
影像創作不再一定只有動態影像或靜態影像兩種選擇 , 對照杉本博司的《劇場》(1975-2001) 系列攝 影 跟阿達 ‧ 漢娜 (Adad Hannah)《俄國人》(The Russians, 2011) 錄像 : 一個是將動態凝結到靜態 ; 一個 是將靜態解放為動態 , 很容易讓我們理解到「在兩者之間」所呈現的辯證關係。 另外 , 我們在當代可以看到在社交平台如 Vine 上面網民所作為時數秒的搞笑影片 , 以及從 1990 年代 發展至今 , 像活屍般舞動的 GIF 動圖藝術 , 兩者都是試圖創造一個意義的最短迴圈 , 特別是 GIF 動圖 創作常使用的 銜尾蛇 (ouroboros) 技巧。但吳尚洋《影像的縫隙》系列創作的激進之處在於 , 以動 畫的 邏輯看 , 根本發現不到關鍵格 (key frame), 在作品中透過時間延遲所顯現的虹化效果 , 讓影像 處於永 恆懸宕的補格 (tweening) 中。
結語 : 所有的感覺對象都是觸覺對象 古希臘哲學家德模克力圖 (Democritus) 如是說。他認為 , 構成萬物的原子以形定色 , 黑、白、綠、 紅 四原色及其組合的影像 , 是我們眼睛與物流出影像接觸過後的的感覺結果 ; 幾何之父歐基里德 (Euclid) 同樣認為 , 視覺等同觸覺 , 因為從眼睛射出的目光 , 即等於伸出去的手。吳尚洋致力提供的 藝術體驗 , 從《影像的縫隙》系列計畫 , 到目前的《溫度計畫 ( 暫定 )》, 光與溫度媒材在吳的創作策 略下走相同的 , 歐普藝術慣常操作的高對比邏輯 , 打開的是上述被當代科學實驗否定 , 但仍然在人文 情感方面作用的 想像場域。作為觀眾感官作用的觸發器 , 在影像的間隙中我們可以期待 , 吳尚洋將會 以更多不同的方 式 , 也許不是從媒材開發而是組織創作的路徑 , 使得人跟科技的關係 , 有更多有趣的 建立方式。
註釋 【 註 一 】 可 參 閱 James Ravin, “The Visual Difficulties of Selected Artists and Limitations of Ophthalmological Care During The 19th and Early 20th Centuries”, Trans Am Ophthalmol Soc. 2008 Dec; 106: 402–425; 另一位研究者加入電腦模擬患者視線的文章 , 見 Michael Marmor, “Ophthalmology and Art: Simulation of Monet's Cataracts and Degas' Retinal Disease”, JAMA Ophthalmology, Vol 124, No. 12, 2006, accessed Jan. 18, 2016, http://archopht. jamanetwork.com/article.aspx?articleid=418859 【 註 二 】Pamela M. Lee, Chronophobia: On Time in the Art of the 1960's, Cambridge: MIT Press, 2004, 160-161. 【註三】同上 , 頁 167-169 【註四】Gert van Tonder, “Perceptual Disruption and Composure in Bridget Riley's Fall”, in Leonardo, Jun. 2010, Cambridge: MIT Press Journals 【註五】Kai-hung Fung, “Creating Special Visual Effects with Moiré Patterns in Stereoscopic 3D and 4D Computed Tomographic Art”, in Leonardo Vol. 43, Issue 3, 2010. Cambridge: MIT Press Journals
Gained at Sunset: On Aether in Wu Shang Yang’s Works Chiu Po-ting
All things submit to Ying and embrace Yang. They merge together and thus, harmony. – Lao Tsu
Introduction In Ancient Greek, the word “Aether” originally means the god’s breath. Aristotle the philosopher used it to refer to the medium to transmit light. The hue and shading value of light create a variety of visual experience, which inspires visual artists at all times to unceasingly seek for any possibilities regarding mechanism in visualizing, therefore the cultural legacy of human beings is enriched. Either “What is lost at sunrise will be gained at sunset” in Chinese expression, “Dealing with the Devil” in occidental context, alludes the protagonists gave in their soul at certain moment in their life, for what people nowadays consider “genius” performance. However, as for probing further the issue in creativity in art practice, tools were often attributed by neuroscience related studies, mostly on analyzing mental disorders: bipolar disorder, schizophrenia, Tourette syndrome, drug abuse, and etc. But what will happen when having vision problems? How then, does it interfere with one’s creations? Young artist Wu Shang Yang, is one of the best tokens to discuss about. Out of his own eye disease, he has actively developed an out-of-box communicative channel to carry out the visual works. He is good at using spreading lights, which becomes his style of creation. He intends to trigger the viewers’ reflection on human-machine relations by his works. In this article, apart from artist’s statement to analyze the artist’s works, I will get together other works or other artists’ experience related to Wu’s context and his train of thoughts, alongside integration, in order to capture the topologic positioning of Wu’s works.
When disability starts benefiting – a substantial origin of Impressionism
When optical illness invades and harasses, the most influenced examples on works are painters. Throughout art history, Claude Monet and Edgar Degas are more well-known examples. Monet suffered from cataract, which worsened during his late period of his activities. His eyes were not able to receive light in short wave length. Thus, sceneries were like being put on a warm filter, purple and blue colors merely appear, while the red, the yellow, and the brown were all-over. After his operation, Monet gradually gained back his confidence, keeping him creating master pieces like “Water Lilies.” On the other hand, Degas’ stroke became wider and wilder after he had eye illness. However, what being crucial here is that, from the description above, Monet is more obedient to his sensual experience on his creation process, instead of expressing in a more objective perspective. At the same period of time, Jules Cherét had created many posters which are famous for their gorgeous pigment as gorgeous as flowers by using exceptional composition and excellent technique of chromolithography. He even had his own individual exhibition with those posters. But later on, he suffered glaucoma, which had influenced his career, and also made Monet feel much regret. [1] From the 19th century to the 20th century, artists who suffered from eye illness had respectively made their adjustments to effects brought out on their creation process. However, not until 21th century did the ophthalmologists make attempt along with experts of all kinds of field collecting and systematically arrange archives, which enables us to get much closer look into their lives of creativity. The way to define “Impressionism” will continue changing with more scientific researches summited. Then, how does Wu Shang Yang deal with his own “visual problem” and convert it to the initial strategy when pursuingmeanings regarding humanity? The reason why Monet’s experience is mentioned is to correspond to Wu’s, they both intend to share their own sensual experience to the audience.
Certain Uncertainty – Op Art and Bridget Riley Despite denial of the artist herself, Bridget Riley is still considered one foremost representative of Op Art. 1965, A show was launched in the Museum of Modern Art in New York City. The Responsive Eye, which not only made Op art stand out in the history of art, but also made Bridget Riley catapult to fame. Curator William Seitz believed that these artistic works reflected contemporarily the development of post-war technology. In his writing, it says, “… a meeting ground is being established on which artists, designers, ophthalmologists, and scientists can … expand our knowledge and enjoyment of visual perception.” [2] Riley’s works drew one of the most famous art collector Larry Aldrich’s attention. They soon made arrangements to meet each other. Leiley felt quite annoyed by Aldrich adapting her work Hesitate to produce fabrics. In fact, after the exhibition in New York aroused a boom. Op art was wildly adapted in fashion designs, which the upper class went after in a swarm. [3] In Exposition Internationale du surréalisme in 1938, we see how artists decorated the mannequins in a unique manner. But at this particular time, Riley has not partaken in this fabric formation process at her will. Why did she feel such annoyance? Probably the answer can be found in Gert J. van Tonder’s article, Perceptual Disruption and Composure in Bridget Riley’s Fall published in 2010. [4] When Fall is viewed and analyzed scientifically, shifting viewpoint also triggers the shift of visual attention, disclosing that the structure of lines is not always unchanged like what it seemingly appears. By slight change of thickness of lines, the work itself will guide the viewer to watch in a sawtooth trajectory, from less density area to more density one. It turns out that this piece of work still retains its completeness and self-sufficiency, which differs from the “patterns” calculated by computers. No wonder why Riley was so mad and stunned when seeing her work be reduced to purpose of decorating.
Meanwhile, Tonder’s research proved that no matter how it was, Seitz precisely pointed out the main idea in viewing Op art, “these works exist less as objects to be examined than as generators of perceptual responses in the eye and mind of the viewer.” The meta-creation of Wu Shang Yang also plays the same strategy: from light to temperature, juxtaposing the high contrast lines and bulks, or even the air of highly different temperature. Next, I will analyze the science and technology basis used in Wu’s series: Intervals in Images.
“Rainbow” in Contemporary Art Wu mentioned that he will keep caring of the relationship between technology and civilization in his long term practice. In his discourse, mentioned that he performs his creativity in “low-tech” manner. Then, how should we look on the criteria of being “low”? Or how low could it be? Intervals in Images started with a small accident. When Wu Shang Yang was using his mobile phone to record signal from a projector, he found that due to slight difference of frequency between the signal end and the receptor end, time gap separated different colors, which has different wave length in light, resulting in some sort of rainbow effect in the image. In daily expressions, it was called “Moiré pattern”, which normally will be considered static that many of us work for eliminating. From CRT televisions, LCD screens, to plasma technology, people kept pursuing higher quality resolution. All manufactures strive for minoring RGB color signal blocks, which, under merging effect, making our human eyes unconscious of the fact that trichromatic signal was separated. But Wu tend to amplify this part. Therefore he did it in the reverse way on purpose, becoming his style described as “rainbow effect”.
Double-slit experiment is to prove the wave and particle characteristics in the interference pattern of light. Today, it is already one of the most beautiful and important experiments recognized commonly in the science field. In 19th century, Thomas Yang founded that framework. Later attempts and attributions by many physicists made this experiment helpful in both physics and quantum mechanics. Eventually it has gained its indispensable value. As for its application to artistic field, we will associate it to the development of Holography technique in 1970s. Nowadays, it is popularized in our daily life. On each credit card, there is holographic counterfeit mark. Wu’s practice also demonstrates the interference of light, which separates the image into bright and dark areas and different colors in a form of Sinc function. At another exhibition, The Bianwen Book: Images, Production, Action and Documents of Chen Chieh-Jen, which just ended at the beginning of 2016, The Cube Project Space exhibited a piece of installation art, the Pain that Can’t Be Comprehend: the images contain descriptions about Leprosy including scanned words and germ biopsy are projected on the wall as a slide show. In the opposition of the projection end installed a screen, a residual part of television brought out of the Lo-Sheng Sanatorium and Hospital. By observing the projected wall through the screen, one could probably see the dust on the screen, and the screen, due to the aged phosphor, blurs the image on the wall. What has shown between the two perspectives is not the relation between the riddle and the answer to it. The Past and the pain of the persons involved, as the title of the work points out directly and sentimentally, no one could comprehend by watching news reports or collecting archives from the hospital. As the result, in Chen’s work, the “vague” picture exemplified contrarily a more “precise” expression.
Magnetic Resonance Imaging (MRI) and Positron Angiography - Computed Tomography (PET / CT) are non-invasive examination technologies in contemporary medical practice, and applied as major procedure in cancer screening. Fung Kai Hung, a radiologist in Hong Kong dedicates himself to art using these instruments. In his essay [5], he called his method "rainbow technique", claiming to have taken the two-dimensional imaging of Op Art to three-dimensional, even four-dimensional realm. Fung has demonstrated this method in "Digital Kingdoms" in 2008. From the point of view regarding new media development, this is where the use of science and technology under Op Art realm has reached so far. That is to say, the low-tech manner claimed by Wu Sang Yang should be considered from the relative position. In fact, it means the simplicity of organizing materials, instead of the use of technology itself. It is the development of refined technology that makes complex physical effects become artists’ "ready-made" materials.
Further discussion on Wu’s images Previously, some key conditions of occurrence and context have been briefly illustrated in Wu Shang Yang’s works. Here is my following question: Why is he so fascinated in using this “rainbow effect” technique? And what is the effect it carries out? Imaging doesn’t merely lie between motion pictures and stills. Comparing Hiroshi Sugimoto’s series of photographing, Theatres (1975-2001), which condensed the motion picture and turned it into still ones, and The Russian (2011) by Adad Hannah, which released the still frames into motion ones, we can easily notify and dialectical relations shown between these two.
Besides, many netizens have created clips which last only a few seconds on social media platforms like Vine. Also there are walking-dead-like creations known as GIFs. Both of which generate narrations in forms of shortest loops to manifest meanings, especially the ouroboros philosophy in motion graphic GIFs. Nonetheless, the radical part of Wu Shang Yang’s Intervals in Images is that no key frames are found if we follow the logic of animation making. Instead, the rainbow effect shown in the work though time delay makes the images pending eternally in tweening.
Conclusion: All sensations are tactile sensations. Democritus the ancient Greek philosopher thinks the atoms which compose all things take forms of four primary colors: black, white, green and red, the combinations of the four result in images of the objects. Sensual feedbacks were generated through contact between the eyes and the image flow of objects. Father of geometry, Euclid also agrees with this idea that visual sense is exactly, tactile sense, making vision perceiving equivalent to outreaching hands. The practice dedicated by Wu Shang Yang, from the series projects Intervals in Images to Temperature Project the same logic has shown: high contrast one commonly used in OP Art. Therefore, it has opened a new imaginary extent which was denied by the contemporary scientific experiment but still has its function in human emotions. As an audience’s generator, more and more interesting ways to establish new relations between technology and humanity, probably not by developing new materials but by organizing those which were already exist, will be expected in Wu’s Intervals in Images.
Notes [1] Refer to James Ravin, “The Visual Difficulties of Selected Artists and Limitations of Ophthalmological Care During The 19th and Early 20th Centuries”, Trans Am Ophthalmol Soc. 2008 Dec; 106, pp 402-425; another article about a researcher who participated computer simulated patients’ versions, see Michael Marmor, “Ophthalmology and Art: Simulation of Monet's Cataracts and Degas' Retinal Disease”, JAMA Ophthalmology, Vol 124, No. 12, 2006, accessed Jan. 18, 2016, http://archopht.jamanetwork.com/article.aspx?articleid=418859 [2] Pamela M. Lee, Chronophobia: On Time in the Art of the 1960's, Cambridge: MIT Press, 2004, pp 160-161. [3] As above, pp 167-169 [4] Gert van Tonder, “Perceptual Disruption and Composure in Bridget Riley's Fall”, in Leonardo, Jun. 2010, Cambridge: MIT Press Journals [5] Kai-hung Fung, “Creating Special Visual Effects with Moiré Patterns in Stereoscopic 3D and 4D Computed Tomographic Art”, in Leonardo Vol. 43, Issue 3, 2010. Cambridge: MIT Press Journals
簡歷 /Biography
吳尚洋
1992 生於台北 2011 畢業於中正高中美術班 2013 關渡美術館實習 2015 寶藏巖國際藝術村志工 2015 畢業於國立台北藝術大學美術系 目前美創所複媒組在學
個展 2014 《影像的縫隙》吳尚洋個展，八又二分之一空間，台北 聯展 2017 《過場》北藝大美術學系碩士班創作組 104 級畢業展，地下美術館，台北 2017 《未來未來的地方：關渡平原沒展覽》，北投豐年福德宮，台北 2017 《藥房影像展：吃掉男孩秘密的白蟻》，永富五號，新北 2016 《青年藝術家推薦展》第二十屆上海藝術博覽會，上海世博展覽館，上海 2016 《引爆藝術力》第一屆臺灣藝術博覽會，世貿三館，台北 2016 《三芝三年展》第一屆國際地景藝術祭，三芝文化基金會，新北
2016 《北投計畫記錄展》，邊空間，台北 2016 《北投計畫》，中心新村，台北 2016 《仙渡莊計畫 II：想像的地理中心》，大舟造船廠，新北 2015 《陷落當下的恐慌》，自由人藝術公寓，台中 2015 《七十一號》十八人聯展，寶藏巖國際藝術村，台北 2015 《仙渡莊計畫：視而不見》，仙渡莊旅社 305 號房，台北 2015 《前進曠野 Into The Wild》台北藝術大學第 30 屆美術學系畢業展，白色 廢棄建築，新北 2015 《藝術新聲》十校畢業生推薦展，大墩文化中心，台中 2014 《成果發表會》台北藝術大學美術學系第 28 屆系展，地下美術館，台北 2013 《北緯 25 度 13 分 373 秒 東經 121 度 47 分 1917 秒》台北藝術大學美術 學系第 27 屆系展，地下美術館，台北 2013 《愛人 lsland》台北藝術大學美術學系 100 級班展，地下美術館，台北 獲獎 2016 《指物》美術創作卓越獎，關渡美術館，台北
Wu Shang-Yang 1992 Born in Taipei , Taiwan 2011 Graduated from Taipei Municipal Zhong-zheng Senior High School in Fine Arts program 2013 Used to have internship in Kuandu Museum of Fine Arts 2015 Do volunteer in Treasure Hill Artist Village 2015 B.F.A , Graduated from Taipei National University of the Arts , Fine Arts department in Drawing & Visual Communication program M.F.A , Currently studying at Taipei National University of the Arts , School of Fine Arts , Artistic composition institute in Multi Media program Solo Exhibition 2014 《Inbetweening Images》Wu Shang-Yang solo exhibition , eight and one-half art space , Taipei Group Exhibition 2017 《Passing Stages》Taipei National University of the Arts, 104, MFA, Graduation Exhibition, Underground Art Museum , Taipei 2017 《To No Future Place : Guandu Plain No Exhibition》 , Beitou Feng Nian Fude Temple , Taipei 2017 《Drugstore Video Art Exhibition : The termites, Eaters of a Secrets》, Yungfu studio, New Taipei 2016 《Sanzhi Triennial》First International Land Art Season , Sanzhi Culture Foundation , New Taipei
2016 《Beitou Psychogeographic Proiect of Record》Bian Space , Taipei 2016 《Beitou Psychogeographic Proiect》Heart Village , Taipei 2016 《Xanadu Project II : A Place Without Boundaries》TC Shipyard , New Taipei 2015 《Present dump》Freedom Man Art Apartments , Taichnug 2015 《NO.71》Eighteen people Joint Exhibition , Taipei 2015 《Xanadu Project : Memo-Blind》Xanadu Hostel Room 305 , Taipei 2015 《Into The Wild》Taipei National University of the Arts 30th Annual Fine Art Graduation Exhibition For Art Major , White abandoned buildings , New Taipei 2015 《New Sound Art》10 University Graduating Students Recommend Exhibition , Dadun Cultural Center , Taichnug 2014 《Result Presentation》Taipei National University of the Arts 28th Annual Fine Art Exhibition For Art Major , Underground Art Museum , Taipei 2013 《N25° 13 ' 373 " , E121° 47 ' 1917 "》Taipei National University of the Arts 27th Annual Fine Art Exhibition For Art Major , Underground Art Museum , Taipei 2013 《Island》Taipei National University of the Arts Annual Fine Art Exhibition For Class 100 , Underground Art Museum , Taipei Award 2016 《Indexing》Outstanding Art Prize Exhibition , Kuandu Museum of