Pencil on paper
46 x 61cm
Where is the boundary between life and art? Where lies the distinction between an everyday object and a work of art? These age‑old questions still have no definitive answer. There remains a persistent divide between the public and the art world in their definitions of “art.” Who is right and who is wrong? Especially after the emergence of figures like Marcel Duchamp and John Cage, the introduction of the readymade and the liberation of aesthetic concepts have truly blurred the lines of what art can be.
Works documented in photographs and preserved in archives require, for a fuller reading, that the viewer possess at least a basic understanding of contemporary art. Yet whether or not one has such knowledge, the appearance of everyday objects and artworks inevitably overlaps. To truly grasp their connection, I attempt to regard classic paintings, sculptures, installations, and other works as objectively existing still lifes—and render them anew through drawing.
生活與藝術的界線為何？日常品跟藝術品的分野在哪？老掉牙的問題依然沒有確實的答案。大眾與藝術圈子對「藝術」的定義存在著恆久的斷裂，到底誰對誰錯？尤在杜尚(Marcel Duchamp)、凱奇(John Cage)等人的出現後，現成物想法的出現以及美學概念的解放致使藝術真真正正的被模糊化。
以照片記錄下來的作品被納於典籍內以作流傳，要對之作出更充分的閱讀，前提是讀者須具備基本的當代藝術知識。而不論你沒有沒足夠的知識，日常品跟藝術品的外觀無可避免地相像。要真正理解箇中的關連，我嘗試將經典的畫作、雕塑、裝置等作品，視之為客觀地存在的靜物，並以素描將它們描繪下來。
