02/06/2026
《展品欣賞》
吳丁賢 Wu Ting-Hsien｜角落定間 A Corner Held, 2026, 壓克力 Acrylic on Canvas, 60x50 cm
《角落定間》是一件以極簡語言承載極大重量的作品。初看之下，長條直線筆直地有些冷靜，但又從折線中隱約透出一個空間維度。然而當你願意在它面前停留，那份靜默便開始釋放出層層疊疊的意義，如同畫面之白底下那些被覆蓋卻未曾消失的顏色。
畫面由一條黑色水平線切分上下，構成作品最基本的律法。這條看似不和諧的直線不只是構圖的骨架，更是一個閾值的宣告，似乎召喚了一種對比的張力。上半部的白，乍看是留白，實則經過無數層顏色之上最終覆蓋的結果，每一層曾經鮮豔的意念，都被壓進了表層之下，使這片白有了重量與厚度。下半部則截然不同，兩條斜線切入畫面，帶入運動與切割的張力，打破了水平線所建立的靜止秩序。上與下，白與幾何，沉默與動勢，在那條黑線的兩側各自成立，又彼此拉扯。
而最引人注目的，是棲居在中線上的那幾團橘色、黃色若隱若現的色塊以及若干黑色的筆觸，隱約向中線的上下擴散。它們不屬於上半部的白，也不屬於下半部的秩序，而是懸浮在「之間」，是那條線所聚集、所燃燒起來的能量。正中央，有一個橘黑交織、若隱若現的圓圈。這是整件作品最需要時間才能看見的元素，定睛才終於看見它。這個「看見」的過程，本身便是作品最深刻的意義之一，它的存在需要觀者的靜止與凝神，需要那個「定」的動作，才得以現身。
橘黑交織的圓圈像是《媽的多重宇宙》（Everything Everywhere All At Once）中的貝果黑洞，而藝術家創作的過程更是猶如多元宇宙，每一層顏色的覆疊都像是秀蓮（Evelyn）在多元宇宙中的每一次跳躍，感性的爆發、每個意念開啟一個新的可能性，每一層都曾是「當下的全部」。每一層的堆疊都是是並行且相互滲透，又彼此覆蓋的意識流。表層覆蓋一切的白色，則像是電影的結局中，秀蓮以善良與愛，溫柔地涵納了一切，以和解的姿態，為畫面讓渡出一個呼吸的空間，因此畫面中大量的白色不是單純的覆蓋，而是與堆砌的色彩產生共存的應力。最終，貝果黑洞不再只是黑洞的引力，更是和解之後仍存在的那一個核心，沉入和諧之中若隱若現。
作品名稱「角落定間」中的「間」，借用了日本美學核心概念「間（ま）」的精神，因此畫面上的大塊白色並不是留白，而是刻意創造出的節奏與呼吸空間。而取名「定間」則是以模糊的含義，引導觀者跳脫命名的限制，投入畫面的律動之中。觀者透過凝視得以讓視線一層一層滲透畫面，觀察由藝術家所創造的空間場域。
A Corner Held is a work that carries immense weight through a minimalist language. At first glance, the canvas feels quiet — almost cold. Yet when you are willing to linger before it, that silence begins to release layer upon layer of meaning, much like the colors covered beneath the white surface of the painting — covered, but never truly gone.
The composition is divided by a single horizontal black line, which constitutes the work’s most fundamental law. This line, seemingly dissonant, is not merely a structural spine but a declaration of a threshold, one that appears to summon a tension of contrasts. The upper half, white at first glance, is not empty space but the result of countless layers of color finally sealed beneath a coat of white. Every vivid intention, every impulse that once existed, has been pressed beneath the surface, giving this white its weight and density. The lower half is altogether different — two diagonal lines cut across the picture plane, introducing a sense of movement and rupture that disrupts the stillness established by the horizontal axis. Above and below, white and geometry, silence and momentum — each holds its ground on either side of that black line, while pulling against the other.
Most arresting of all are the clusters of color hovering along the central line — semi-transparent patches of orange and yellow, alongside several strokes of black, diffusing faintly upward and downward. They belong neither to the white of the upper half nor to the ordered geometry of the lower; they suspend themselves in the between, the energy gathered and ignited by that dividing line. At the very center, an interwoven circle of orange and black appears, barely there, almost invisible. It is the element that takes the longest to see. You must look steadily before it finally reveals itself. The act of seeing it is itself one of the work’s most profound meanings. Its existence requires the viewer’s stillness and concentration, requires that act of fixing one’s gaze, and only then does it come into presence.
This orange-and-black circle recalls the Everything Bagel of Everything Everywhere All At Once, and the artist’s process of creation is itself akin to a multiverse. Each layer of color laid over the last, like Evelyn’s every leap across parallel worlds, is an emotional eruption. Each intention opening a new possibility, each layer once the entirety of the present moment. Every accumulation runs in parallel, interpenetrating and overwriting in a stream of consciousness. The white that finally covers everything resembles the film’s ending that Evelyn, through kindness and love, gently holds it all, yielding — in a gesture of reconciliation — a space for the painting to breathe. The abundant white is therefore not mere concealment, but a stress of coexistence between surface and the colors buried within. In the end, the Everything Bagel is no longer simply a gravitational force pulling inward; it becomes the core that persists after reconciliation, sinking into harmony, present yet barely visible.
The word 間 (ma) in the work’s title, A Corner Held, draws on the spirit of the Japanese aesthetic concept of Ma — and so the broad expanses of white in the painting are not negative space in the conventional sense, but a deliberately constructed rhythm, a room for breathing. The title 定間 (Held) is in fact a coined word that operates through deliberate ambiguity, guiding the viewer away from the constraints of naming and into the painting’s own cadence. Through sustained looking, the viewer allows their gaze to permeate the picture plane layer by layer, entering the spatial field that the artist has constructed, and in that act of fixing one’s gaze, becoming, for a moment, part of the work itself.
《生命的底色 - 吳丁賢創作個展》
｜展覽日期 : 2026.5.16-7.10
｜展覽地點：穎川畫廊 (台北市中正區仁愛路一段45號2F)
｜開放時間：13:00-20:00 ( 週一公休 )
｜洽詢電話：02-23579900
｜聯絡信箱：[email protected]
#穎川畫廊 #吳丁賢 #生命的底色 #吳丁賢個展 #壓克力畫 #油畫 #舞線系列
