I concern about the relationship between people’s emotions and their life styles. The importance of “sadness” inside people is found by discovering and understanding their experiences and backgrounds. We always say some predictive words, “If I could do this in the future, I would be satisfied.” We have desires due to our past. We have wishes that yet to come true, and so the sense of sorrow endures in our spirit. The people I drew did not give up their wishes, yet they show a moment of sadness that stemmed from their experiences or failures, a sigh of fragility.
Based on the content, contrast is form by the past and present, and I emphasized expressions through their eyes. Zao Wou Ki once said, “I was thinking how to visualize wind, as trees’ movement forms wind.” The interaction of the objects and atmosphere proves the existence of space. My feeling towards experience is just like a mist, untouchable yet not washable. By adding sheer layers, applying pencil on top to create a pathetic, vulnerable world. Making use of the past as the starting point to visualize the sense of sorrow.
(The text is provided by the student)
我關注於人的情感與他們生活方式之間的關係。透過發掘家人和朋友的往事，去探索悲傷在人的經歷中，有什麼的重要性。以前經歷過一些事，我們會對自己說﹕「我將來如能……，那就好了。」往事令我們產生願望。直到現在，我們會因未能完成心願，而讓哀愁纏繞在我們內心。我畫的人，都是沒放棄心願，卻因挫折而帶點憂愁，表露脆弱，嘆息的一刻。
內容上我以樣貌的過去與現在兩個時空交錯產生對比，透過取捨五官描繪的仔細度去強調眼部神情。趙無極說﹕「我在想如何畫風，樹在動就表示有風。」在空間上，我以畫中物件與空氣的互動去呈現空間的存在。往事給我的感覺像輕柔的煙霧，摸不到又抺不走，我以淡薄的渲染，疊加層層的鉛筆，用我的畫法去塑造一個滄涼、虛弱的世界。我想以往事作切入點，說悲傷的感覺。
(本文由學生提供)
