2019 //創作理念 林瑋萱自述//
My immense fondness of plants has my terrace in the third floor of the building decorated with many flowers, leafy plants and even a breadfruit tree, the largest among all and still growing with bigger leaves. The lush greenery of various heights ingeniously blocks the heavy gray concrete building on the opposite side. Whispering to the plants while dusting their leaves or trimming off the wilted stems brings me pure happiness to last for a whole day. However, I do from time to time peak into the building in front of my terrace and gradually notice the neighboring buildings on its both sides of different heights with asymmetry structures and distinctive characters. In my view, it’s an interesting landscape. One day, I tilted my head to look at the flying five-color flag on top of the opposite building and accidently found two black round windows and a tree belonging to the building in the back of the red-brick high-rise. It feels like someone with a binocular is looking at me from that height. Since then, whenever I water the plants in the terrace, I can’t help but direct my gaze that direction and see reflecting light, shadows and their faded color.
The idea of “Terrace Alteration” originates from sketching “outside the house”. In 2012, I started to include natural landscapes into my work. My paintings try to deliver peaceful, serene and grounded feelings. My approach shifted from showcasing the motions of strong colors to highlighting the existence of stillness in all motions. It wasn’t until 2017 did I realize how interesting the lines of architecture and the skyline can be. In the painting, the joint point where the edge of the building connects with the scenery behind it is adopted as a metaphor for feelings; the rooftop of the main building is right next to the neighboring building with thick and thin lines intertwined to create a space - the lines of the edges, windows, electricity poles, railings, water pipes, the colors of the walls and the distance between the objects. When the architecture jargon is left aside, only dots, lines and dimensions are there to compose a very fascinating picture, which catches my attention and gets me to ponder.
In a bustling and lively area, the top floors somehow conjure a sense of detachment. They seem to be so insignificant that all kinds of things are dumped there. It brings up this life experience of incompleteness in me – the forgotten and the lonesome corner. I chose the cold gray color tone to illustrate the feeling of being alienated by people or the society. The visual transition from 3D to 2D slowly eliminates the warmth. And poetically demonstrating is how the eye of my mind watches myself connecting to the painting.