| 現實中的夢境 (壓克力作品)
夢境是一扇通向内心深處的門，真實地探索其中的細節，把感性的夢境貫穿到現實中，或許能幫我更深刻地認識自己，或許會發現一些潜藏的思想和情緒。
生命就是一連串的片刻，回憶和幻想拼湊在一起的時光，人在某個階段會重組以往的生活片段，每個人都有這樣的經驗，因為偶然想起或夢過某個片段的場景，潛在的片段不由自主的浮現，最後發現原來這些場景是真實的發生過，甚至都不在乎是真實的還是幻想的還是曾經夢過的，在心裡的那段朦朧的感受才能將內心深處的另一個角落給挖掘出來。
在混沌的畫面裡，時而感覺自己置身於夢幻般的現實中，時而像是在現實中徘徊在夢境裡，嘗試遊離於夢幻和現實中，感受它們的質地，这样的感受或許能够幫我進入夢境和真實另一個世界。
在現實生活中，或許會感受到一種夢幻的氛圍，周圍的景物仿佛籠罩在柔和的光影中，色彩如夢似幻。這種感覺可能讓我懷疑自己是否置身於夢中，現實與夢境的邊界變得模糊而迷人。
| Dream in Reality
Dreams are a door to the depths of my heart. Really exploring the details and integrating perceptual dreams into reality may help me understand myself more deeply, and I may discover some hidden thoughts and emotions. Life is a series of moments, a time when memories and fantasies are put together. At some stage, people will reorganize the previous life fragments. Everyone has this experience, because they accidentally think of or dream of a certain scene, potential fragment involuntarily; I finally discovered that these scenes actually happened. I don’t even care whether they are real, fantasy, or a dream. Only the hazy feelings in my heart can dig out another corner of my heart. IN the chaotic picture, sometimes I feel like I am in a dreamlike reality, and sometimes I feel like I am wandering in a dream in reality. I try to separate between dreams and reality and feel their texture. This feeling may help me enter the dream, and another real world. IN real life, you may feel a dreamy atmosphere, where the surrounding scenery seems to be shrouded in soft light and shadow, and the colors are dreamlike. This feeling may make me wonder if I am in a dream, and the boundary between reality and dream becomes blurred and fascinating.
| 雜亂下的美學型態 (橡膠作品)
群居生活是人類的天性，但因為這樣他們不斷的在開發，破壞再規劃下編織成一個合理聚集地，這種不間斷的衝突與融合構成了屬於自己的空間，一個土地在人為下被分割成無限的細塊，因為結構，體制和機制在層層堆積下的結果，即有自然的成分，也有人工的干預，一个聚合體的非自然景觀得以現身。”雜亂無章“很明顯是無規劃下的產物，但人類却可以在時間的推移下融合共存，慢慢的開始對雜亂失去認知，逐漸沒有了分辨能力的狀態，甚至還發掘出雜亂美學。
在《橡膠作品》中，藝術家表達了大自然和人為干預下劃分土地的和諧與衝突。 在這些作品當中，一塊土地被人為地分割成無數小塊，象徵著層層結構的構建、分配和機制形成了錯綜複雜的非自然景觀。
之所以使用橡膠做為創作媒介，是因為它曾經是我童年時期的另類”玩具“，由於它的高彈性和實用廣度，它可以在我的創作中發展出無限的可能，橡膠的可塑性和變形能力象徵著人類的靈活性和適應性，同時也被視為對抗逆境的掘疆性格從而反映人類在面對環境變化和挑戰時的態度，它也代表著現代社會中的消費主義和塑造個人身分的象徵。
藝術家通過橡膠的特性來探索藝術家的內在情感，表達出藝術家的內心世界以及社會問題，呈現出對生活，自我意識形態上的思考方向和環境與人類共存中的妥協和掙扎。
| Aesthetics Type under Clutter
It is human nature to live in groups, but because of this they are constantly being developed, destroyed and re-planned to weave into a reasonable gathering place. This uninterrupted conflict and integration constitutes their own space, and a land is divided into artificial Infinite pieces are the result of the layer-by-layer accumulation of structures, systems and mechanisms, including natural components and artificial intervention, and an aggregated unnatural landscape emerges. "Clutter" is obviously the product of no planning, but human beings can integrate and coexist as time goes by. They slowly begin to lose their recognition of clutter, gradually lose the ability to distinguish, and even discover the aesthetics of clutter.
In "Rubber Works," the artist expresses the harmony and conflict between nature and human intervention that divides the land. In these works, a piece of land is artificially divided into countless small pieces, symbolizing the construction, distribution and mechanism of layers of structures that form an intricate unnatural landscape.
日帝藝術 | 現實中的夢境VS.雜亂下的美學型態 | 黃國良個展
“Dream in Reality VS. Aesthetics Type under Clutter” Ng Kok Leong Solo Exhibition
展覽時間｜2024. 3.05 - 3.30
開幕座談｜2024. 3.09 15:00
與談人 ｜林郁晉 策展藝評
展覽地點｜台北市11262北投區承德路七段286號3樓 ( 立農公園停車場 )
活動查詢｜T +886 -2 2820 1558 www.helios2014.com
開放時間｜週二 - 周六 12 : 30 - 18 : 30 ( 週日.週一休館 )
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