眼見、觀思 — 磐古
創作自序
呂良遠
如果我們以「想知道它有什麼意義的態度」來看一個物件，就只會思考那個問題而看不到它本身。因為每個人的心智有兩種不同的感官來看物件，一是用眼睛看，一是用問題來看（不用眼睛）。
用眼睛看得到的，手可觸摸得著的，人們會因為太真實，因而缺乏興趣，無法吸引住目光而漏掉很多東西。真實世界的社會現象如此，所謂「藝術物件」更是如此。一件物品以某一種形式呈現在眼前，可能以另一種形式潛藏在它的外表之下。「距離」產生了美，「象徵」增加了想像的空間。意味著某種情境，可以是啟發，可以是探索。
例如：符碼、暗示、意味、酷似、詩意、臆測、衍生、轉化、移嫁、虛擬、辯解、再造、闡釋、觀、思、念、意…等；因此物件的一體兩面，潛在的比真實的想像空間來得更寬、更廣、更深，我想這是"高"的藝術物件必須存在的理由之一。
而在眾多的表現媒介裡—影視、舞蹈、水彩、水墨、寫作、繪畫、雕塑、音樂、建築中，除了影視，大都是加法的表現方式。對不善於加法表現方式的我，選擇了減法的表現方法"攝影"，做為我揮灑的工具，製成的"影像"做為我與他人之間的溝通媒介，相互激賞、共評、共鳴，苦在其中，樂在其中，活在其中，以"磐古"寄情，藉"磐古"寫境。
在拍攝磐古系列時，我常與景中裡的朋友—石、岩、海水，浪濤、風、雨、太陽對話、共鳴。在這三年拍攝之中，我的朋友，以亙古以來自然地相互共生、共存、殞沒的種種面相呈現在我的鏡頭前。春、夏、秋、冬，潮來潮去，互相感動中不知不覺地快門起起落落，落印在我的記憶裡，也實實在在地落印在我的底片中。
在1985~1987三年短暫的造訪，在亙古的時空流轉、遞移裡，我為朋友留下柔與剛、虛與實、純樸、素、靜、韻、疊、迴旋、深遠、幽藐，之古石般地片刻容粧。
Thinking, not just seeing - Pan Gu
Image Lu President of Lotus Arts Co., Ltd
If we look at an object as "want to know what meaning it has" that will cause the problem of can not see the object itself. Because there are two different ways of seeing an object in our mind, seeing with eyes, considering the questions (without eyes).
It’s too real, seeing by eyes and touching by hands, to interest people. It could not attracted attention and we missed a lot. Social phenomena are, and the "Art Works" even more. An item was shown us in a particular form, may have a different meaning in another form hidden under the appearance of it. "Distance" brings beauty; “Symbol” increases imagined space. Implies some sort of context, can be inspired, you can explore.
For example: code, hint, implying, like, poetic, speculation, derivative, transformation, shifting, fictitious, excuse, recycling, explaining, seeing, thinking, meaning and etc.; therefore the potential side of one object could be more wider, broader and deeper imagination than the real side. I think this is the existent reason of "high" art object. It is additive expression in many media, such as dance, watercolor, writing, painting, sculpture, music, architecture, but photography and video. I am not good at the additive approach, so I chose photography which is the performance of subtraction method as my tool. Image of photography is the way connected to others for me; admire and comment mutually; in which hard, in which fun, in which live; in which the emotions and circumstances by "Pan-Gu".
I had dialogue and resonance with stones, rocks, sea, waves, winds, rain, and the sun which were in my landscapes when I filmed “Pan-Gu Series”. During these three years of filming, various appearances, immemorial symbiosis, coexistence, did with natural, showed in the lens. I pressed shutter unknowingly by heart moved. Spring, summer, autumn and winter, time turns the pages, images dropped in my memory, also dropped on my negatives. Three years short-term visits between 1985-1987, I left my friends their aspects as ancient stone in a transient moment with firm and soft, void and real, simple, prime, quiet, rhyme, stacking, and roundabout in the eternal flow of time and space.
創作自序
呂良遠
如果我們以「想知道它有什麼意義的態度」來看一個物件，就只會思考那個問題而看不到它本身。因為每個人的心智有兩種不同的感官來看物件，一是用眼睛看，一是用問題來看（不用眼睛）。
用眼睛看得到的，手可觸摸得著的，人們會因為太真實，因而缺乏興趣，無法吸引住目光而漏掉很多東西。真實世界的社會現象如此，所謂「藝術物件」更是如此。一件物品以某一種形式呈現在眼前，可能以另一種形式潛藏在它的外表之下。「距離」產生了美，「象徵」增加了想像的空間。意味著某種情境，可以是啟發，可以是探索。
例如：符碼、暗示、意味、酷似、詩意、臆測、衍生、轉化、移嫁、虛擬、辯解、再造、闡釋、觀、思、念、意…等；因此物件的一體兩面，潛在的比真實的想像空間來得更寬、更廣、更深，我想這是"高"的藝術物件必須存在的理由之一。
而在眾多的表現媒介裡—影視、舞蹈、水彩、水墨、寫作、繪畫、雕塑、音樂、建築中，除了影視，大都是加法的表現方式。對不善於加法表現方式的我，選擇了減法的表現方法"攝影"，做為我揮灑的工具，製成的"影像"做為我與他人之間的溝通媒介，相互激賞、共評、共鳴，苦在其中，樂在其中，活在其中，以"磐古"寄情，藉"磐古"寫境。
在拍攝磐古系列時，我常與景中裡的朋友—石、岩、海水，浪濤、風、雨、太陽對話、共鳴。在這三年拍攝之中，我的朋友，以亙古以來自然地相互共生、共存、殞沒的種種面相呈現在我的鏡頭前。春、夏、秋、冬，潮來潮去，互相感動中不知不覺地快門起起落落，落印在我的記憶裡，也實實在在地落印在我的底片中。
在1985~1987三年短暫的造訪，在亙古的時空流轉、遞移裡，我為朋友留下柔與剛、虛與實、純樸、素、靜、韻、疊、迴旋、深遠、幽藐，之古石般地片刻容粧。
Thinking, not just seeing - Pan Gu
Image Lu President of Lotus Arts Co., Ltd
If we look at an object as "want to know what meaning it has" that will cause the problem of can not see the object itself. Because there are two different ways of seeing an object in our mind, seeing with eyes, considering the questions (without eyes).
It’s too real, seeing by eyes and touching by hands, to interest people. It could not attracted attention and we missed a lot. Social phenomena are, and the "Art Works" even more. An item was shown us in a particular form, may have a different meaning in another form hidden under the appearance of it. "Distance" brings beauty; “Symbol” increases imagined space. Implies some sort of context, can be inspired, you can explore.
For example: code, hint, implying, like, poetic, speculation, derivative, transformation, shifting, fictitious, excuse, recycling, explaining, seeing, thinking, meaning and etc.; therefore the potential side of one object could be more wider, broader and deeper imagination than the real side. I think this is the existent reason of "high" art object. It is additive expression in many media, such as dance, watercolor, writing, painting, sculpture, music, architecture, but photography and video. I am not good at the additive approach, so I chose photography which is the performance of subtraction method as my tool. Image of photography is the way connected to others for me; admire and comment mutually; in which hard, in which fun, in which live; in which the emotions and circumstances by "Pan-Gu".
I had dialogue and resonance with stones, rocks, sea, waves, winds, rain, and the sun which were in my landscapes when I filmed “Pan-Gu Series”. During these three years of filming, various appearances, immemorial symbiosis, coexistence, did with natural, showed in the lens. I pressed shutter unknowingly by heart moved. Spring, summer, autumn and winter, time turns the pages, images dropped in my memory, also dropped on my negatives. Three years short-term visits between 1985-1987, I left my friends their aspects as ancient stone in a transient moment with firm and soft, void and real, simple, prime, quiet, rhyme, stacking, and roundabout in the eternal flow of time and space.