顯微鏡下的大冒險--林餘慶&魏杏諭
文/吳介祥

餘慶和杏諭的作品創造出微小而有機的世界,讓人想起英國詩人布萊克(William Blake)1803年的詩作:
一沙一世界,一花一天堂。無限掌中置,刹那成永恆。(To see a world in a grain of sand. And a heaven in a wild flower. Hold infinity in the palm of your hand. And eternity in an hour.)
萬物有靈觀
義大利文藝復興時期的有名醫生、數學家、天文學家及哲學家卡登諾(Girolamo Cardano, 1501~1576)在1545年出版的書「偉大藝術」(Ars Magna)主張了他的「萬物有生命論」(Hylozoism),認為宇宙空間充滿著賦予萬物生命、推動宇宙運行的原始元素,而使世界成為具生命力的有機體。他的泛靈論(Animism)是一個從和諧觀念出發的萬物生命論,強調萬物皆有活力,且一切生存現象均屬固有的本性,並不是後天或外物所加上的。而兒童心理學家皮亞傑(Jean Piaget, 1896~1980)也用泛靈觀說明學齡前的小孩子們認為萬物有感,因而能透過擬人化的想像力獲得寓言和童話的啟發力。心理學家眼中的這種泛靈觀,是兒童們的稟賦,但卻在學習被規劃過的知識後逐漸消失。精靈和傳奇等故事反而轉變成人們在社會化後的補償,它們具有反智的特質,將我們重新帶進非社會模式的感受力,這也是為甚麼觀賞餘慶和杏諭的作品能予人一種似曾相識的親密安慰感。
整全觀的宇宙想像
根據兩位藝術家的說明,作品中的黑面小人大隊並非真的整列軍旅,而是一個小人的無限分身。這樣的生態觀念似乎符合整全觀(Holism)的宇宙想像,萬物為一,生態不是由各個單體拼湊而成,而是一個整體。在這種觀念之下,處於整體中的”多數化個人”其實只是一種想像,我們仍然在自己的本體中觀察周遭、理解全體,只能以”多個自己的組合”來假設社會整體。餘慶和杏諭想像中,與其說是自己和他人組成了生態,不如說是無數個自己的分身構成了整體。黑面小人既是有毅力的小物種之分身,也可以是無線性時間的分鏡,許多個自己共同構築單一意念,才足以完成宇宙的大計畫。藝術家的生態系彷彿是《道德經》「道生一,一生二,二生三,三生萬物」的體現。

林餘慶&魏杏諭 LIN Yu-Ching & WEI Hsing-Yu《森林喬治 Forest George》
30x30cm,複合媒材 Mixed media,2024
生態均衡-色彩均分
在兩位藝術家創造的生態系,以麥克筆為主的色調分配,讓畫面豐富而溫潤。麥克筆大概是藝術家們常用的顏料中,最工業化的材質,也因此效果非常規律平整,這種平穩的用色模式和油畫顏料發明之前的蛋彩畫(Tempera)和文藝復興時期很普遍的濕壁畫(Fresco)頗接近,這些色料因為使用上無法”揮霍”、不得”揮灑”,因而予人平和穩定的感受。餘慶和杏諭耐心分配色調和色塊,在繁忙緊湊的生態節奏中,公平地分配色彩,創造了均衡生態。
麥克筆色調讓視覺扁平化,而使作品呈現了當代潮流裡的常有的卡漫特質。但同時餘慶和杏諭的創作還具有中世紀與文藝復時期,聖經壁畫的共時性(synchronicity) - 將很長的一段故事呈現在一片牆上,讓當時的信徒們既能一眼全灠,也能在細節裡悠游。觀賞共時性繪畫,時間序可以跟隨眼睛所及之處,每一處都有事件正在發生。然而西方藝術史在透視點原則發明後,觀眾的眼睛朝著透視消失點對齊,視覺被收斂和規馴,而失去了擺脫時序的閑情逸緻。相反的,餘慶和杏諭的藝術提供了自由流覽的樂趣,而這種沒有時間壓力的觀賞樂趣,因為他們精心安置了所有細節,讓人更有游入水族箱、進入萬花筒中,跟著悠遊旋轉那般的忘憂效果。
形隨機能的物種生成
餘慶和杏諭的生態系似乎就將是將萬物之靈呈現出來,它們不存在我們眼睛所及之處,但像微生物體系般多元且堅韌地繁衍增生、交纏循環。藝術家想像出來的生態群,不同於我們所認識的生態那般雜駁和無目的性,而是具有精準的功能和造型關連性,萬物自身形貌即是目的功能,無須假借外在力量或工具,包括眼睛可以伸縮出入的章魚、籠子狀的樹幹、具漂浮力和垂直移動的飛行器、像傳聲筒的耳朵、像鑽洞機的鼻子、有包覆和保護作用的絨毛等,同時各種造型和色彩都親切溫馨,引發讓人想觸摸或鑽進其中的慾望。藝術家想像出極有效率的生物演化過程,當每個生物的器官造型都依據特定功能時,社群任務即可以充分指派,所有物種之間也能密切合作,正是「一切生存現象均屬固有的本性,並不是後天或外物所加上的」宇宙觀的視覺實現。兩位藝術家創造的了「形隨機能」自然而然的生態交往關係,同時也是靜噪並存、浮沉有致的秘境美學。

林餘慶&魏杏諭 LIN Yu-Ching & WEI Hsing-Yu《早安芬尼 Good Morning Fanny》
30x30cm,複合媒材 Mixed Media,2024
自主平等的諸眾生命
像是一個平行於我們世界的系統,這裡面有許多”類體系”,有數學、化學、物理學、生物學、農業、工業和職責分配與合作的系統。兩位藝術家的作品很能牽引觀眾神遊,進入了這個水族箱般的生態系中跟著浮游。萬物隨著應付環境而千變萬化,但生態裡同時也設計嚴密的機關、防衛性的組織、自動性裝置和組織模式迎接挑戰。小宇宙內從生物體的育種、孵化、栽培到採收;從個體複製分身、建設基地和架構組織,這些微觀巨視的生態系看似有一套效率極佳的自我維持機能。藝術家們的去中心化、無單點透視的構圖原則,鋪陳出可無限擴張的效果,沒有線狀進行的時序,製造了世外桃源之氛圍。餘慶和杏諭的生態系裡生命是均衡平等的,這裡物種各司其職,魚蟹蟲鳥不相侵、花束枝枒互遮蔭,人與物的尺度關係適合相依偎,物種各異卻沉浸在彼此追逐的歡樂中。
顯微鏡下的冒險犯難
這些生態系裡並非完全安逸,有時也有異種侵襲,或生態系內的小英雄們也有出外探險的勇氣。他們搭乘合作打造可的機械裝置出遊,讓人聯想到宮崎駿(Hayao Miyazaki)式的飛行器或漂浮島嶼,或是電影「落跑雞」(Chicken Run)裡以彈射機關逃生,機智多謀的肉雞們一般,餘慶和杏諭的作品也充滿了奇幻冒險的誘惑。
類似「愛麗絲夢遊仙境」的物大人小的尺寸關係、或娃娃兵國的行列陣仗、「木馬屠城記」的拆卸和陰謀揭露的佈局,藝術家編織出多重層次的神話、傳說、寓言和童話,提供我們對新域冒險、對祕密武器、對惡境戰略的交疊想像。而黑面小人雖然為數眾多,卻也因為他們的尺寸而讓觀眾同心感受到其處境的危險。藝術家設計的微小精密的行動,像是發生在顯微鏡下的風暴,小人們組織精良、有紀律也有默契,克服了可想像的各種入侵危機和環境暴亂,彼此合作維繫著他們超微型生態裡的安全和秩序,也因為體積微小,更讓人想替他們的運籌策劃力和團隊戰略精神加油打氣!
兩位藝術家在現實裡打開了另一個空間,這裡與我們的環境社會類似,卻又有截然不同的組織生態和時序。在這些生態系中,物種沒有階級差異,任務共同承擔、資源共同運用,甚至色彩明暗、造型圖紋也是共享的資源,即使是打造尋航探險艦艇的智慧和勇氣,也是重要資源。儘管只是存在於我們眼底腦內的冒險,藝術家們的想像力卻能牽動觀眾的遐思,將我們帶得無比遙遠!

林餘慶&魏杏諭 LIN Yu-Ching & WEI Hsing-Yu《幻夢曼波 Phantom Dream Mambo》
30x30cm,複合媒材 Mixed media,2024
Macro Adventures Under Microscopes - Art of Lin Yu-Ching & Wei Hsing-Yu
By WU Chieh-Hsiang
Lin Yu-Ching and Wei Hsing-Yu’s tiny but organic worlds remind me British poet William Blake’s lines in 1803:
To see a world in a grain of sand
And a heaven in a wild flower
Hold infinity in the palm of your hand
And eternity in an hour
View of Animism
Eminent Italian physician, mathematician, astronomer and philosopher during the Renaissance Girolamo Cardano(1501~1576) published a book Ars Magna(Magnificent Art) in 1545 to assert his Hylozoism. Cardano was convinced that the universe was full with elements giving lives to all beings and driving the world operating. And his animism was derived from the harmony of a hylozoist perspective that everything has vitality and all phenomena of survival came from the intrinsic nature of things, not shaped or added. Swiss developmental psychologist Jean Piaget(1896~1980) also applied animism and pointed out that children before the age of going to school believed that everything has senses, so they could be inspired by personalized figures in fairy tales or fables. Such a gift would, however, gradually disappear after they begin the planned learning in school. Folktales, elf stories among other legends become the compensation for adults after their socialization; leaving intellectuality behind, so we will be taken back to the world without social norms. It is why Yu-Ching and Hsing-Yu’s art gives us a familiar intimacy and comfort.
Holistic Imagination of Universe
According to the two artists’ explanation, the goblins with black faces are not from a brigade, they are the unlimited clones of the same goblin. It is an ecological view fitting the ideas of the holistic imagination about the universe, because all is one. The ecology is not patched by many individuals, but a oneness. Given this, the plural “individuals” in the wholeness are nothing but imagination, just we observe the surroundings and understand the entirety in our individual form of being, and it is the multiple selves of one that constitute the society. In the artists’ imagination, it is not “I” and others making up the ecology, but numerous my selves. The black-faced goblins are the reproduced beings of a small but persistent species, not unlike the storyboards without linear timeline. The grand project for the universe can only be achieved with the single will of many selves. It is also the embodiment of Tao-Te Jing, “The Dao produced One; One produced Two; Two produced Three”.

林餘慶&魏杏諭 LIN Yu-Ching & WEI Hsing-Yu《天堂酒吧 Paradise Bar》
30x30cm,複合媒材 Mixed media,2024
Balanced Ecology and Even Colors
The ecology created by the two artists is colored by markers so the planes look rich but smooth. Among all the paints employed by artists, markers are closest to industrial use and they give out regular and ordered effects. The reticent coloring is reminiscent of Tempera before the invention of oil paints or the Fresco during the Renaissance. Paints available then couldn’t be used extravagantly, thus painters couldn’t draw heedlessly, that was the reason why the works give out a feel of modesty. In the bustling tempos, Yu-Ching and Hsing-Yu patiently arrange hues and color chunks to open up a balanced ecology with evenly spread colors.
Coloring with markers flattens the paintings which demonstrate the characteristics of cartoons and comics prevailing in contemporary art. On the other hand, their works also carry out the synchronicity of wall paintings based on the stories from bible in medieval period and Renaissance. Wall paintings then presenting a whole story on the wall so the followers could see it all or watch the details closely. The timeline of a synchronic painting is decided by where the viewer’s eyes lay on, and there must be something happening at wherever one sets eyes on. After perspective has been developed, the viewers eyes naturally align at the vanishing points. Our vision is led and disciplined, therefore losing the pleasure of appreciating paintings without the pressure of time. On the contrary, Yu-Ching and Hsing-Yu’s art provides the fun of appreciating it freely. Such pleasure is meticulously arranged in the details by the two artists, the audience is swimming in an aquarium or spinning in a kaleidoscope, the fun is so great, making one leave anxiety behind.
Species Evolve Their Forms Following Functions
The Ecological System the two artists have developed is to show the spirits of all beings. They are not visible by our naked eyes, but they propagate diversely and tenaciously, sophisticated circles of lives interact and continue. The species clusters cultivated by the artists are less hybridized and more functions-oriented than what we know from nature, and their forms are closely related to their life functions. The appearances of these beings such as the expandable and contractible eyes of octopuses, tree trunks shaping into cages, bugs able to fly vertically, ears similar to megaphones, noses can be used as drills, protective and wrapping feathers, all have particular tasks to take, so they don’t need to employ exterior forces or tools. They all have amicable forms and colors, alluring the audience to touch them or wish to leap into the paintings to be with them. There is highly efficient evolution in this ecological system because every being can be assigned tasks according to the particular functions of their organs, so all beings will collaborate closely. It is the proof of the viewpoint that all phenomena of survival came from the intrinsic nature of things, not shaped or added. The two artists created a naturally happening “form follows function” and interactions between species in an aesthetics of mysterious ambiance, in it tranquility coexists with clamor.
