二十年來的攝影歷程,除了訓練陳順築一對銳利的眼睛,
也令他掌握了一種如何展現自己情感和世界觀的方式。
——節錄自 艾阮文章「陳順築,一個拾取記憶斷片的旅人」

它們全是抽象化的異鄉,與圖案化的家鄉。
在無人的、抽象的、美術化的風景照片裡,陳順築展現出一種寂靜、孤獨、唯美、秩序、理性的氣質。
——節錄自 郭力昕文章「從家族影像到冷凝的《迢迢路》」

儘管是靜態影像,我們在感知上仍可彌平那些不連續時序之間的大量空缺,
在想像「旅程」之餘,感覺到平滑的時間感和一個瞬息萬變、似近又遠的世界。
——節錄自 鄭慧華文章「曖昧日常中的生活詩學─陳順築攝影系列《迢迢路》」

我們大約可以把陳順築這一組作品定位於一種以美學導向為主的風景攝影……,
他的風景攝影不只在於探討攝影的視覺特質,也加入了另一個面向,即「自我」這個層面。
——節錄自 林志明文章「讀陳順築作品《迢迢路》」
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[書籍資料]
作者:陳順築
出版:2010年11月30日 初版一刷
尺寸:26 x 28 cm
頁數:132
定價:1200元
ISBN 978-986-6204-10-4
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[作者簡歷]
1963 台灣澎湖出生,目前創作與生活在台北
1986 中國文化大學,美術系西畫組畢業
1995 獲「台北美術獎」 台北市立美術館
2009 獲「李仲生視覺藝術獎」 李仲生現代繪畫文教基金會
2005 - 德霖技術學院,營建科技系空間設計組 專任副教授
2005 - 2008 國立台中教育大學,美術系所 兼任副教授
2006 - 2008 東海大學,美術系所 兼任副教授
2008 - 國立台灣藝術大學,美術研究所 兼任副教授
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走在路上

陳順築

出發
早在1990年,我曾以《影像‧潛像》為名,選取大學時期和兵役之後的一段無憂遊歷的時光,用純攝影的熱眼內視故鄉澎湖,集結在台北夏門攝影藝廊和台中省立美術館(國立台灣美術館)舉辦兩場巡迴個展。2009年底,在創作心境過渡的「轉場」時候,又想念起當年上山下海,直接把心眼溶入底片,安全存放視界興味的美好感受,便決定回頭整理長年散漫,但又因持續不斷探看,隱然累積成形的攝影主題「迢迢路」。

獨步
時間上它延接《影像‧潛像》到現在的整整二十個年頭,但意識創作的緊疏節奏並不一致,多數是旅行記錄的另一種「錯視」,有時也是解決攝影慾望的快門反射,沒有目的地的刻意出走和迷路,澎湖仍然為情感發散的張望處,但經過二十年鏡像透徹的對望,在自己「看」與「不見」的取捨,已悄然化為量塊與線條的行腳印記,這些「人跡罕見」的絕對風景,沒有搶拍的流動衝撞,也不一定謹守安份的美學形構,在更多順勢而為的環顧中,小心收納每一處影像為不可或缺的對位元素,映照著反覆造訪澎湖鄉村野徑的細密思量。

經過
後來落居台北,因為工作和旅行,在熟悉的風土印象或全然陌生的海外境地,回家與返鄉,在馬路、海域和空中,以一種片斷而寫意的自由注視,一意孤行的透過屋宅或交通載體,在行程停駐的片刻,隔著門窗車框、輪船與飛機艙口,捕捉白日的遐想,不時即興的手、濃黑的影、山崖石頭、樹葉牆壁和無可名狀的前檔穿視框架,定焦與失焦的層層推移景深,再現我看故我在的現場和臨場,內外交錯雙重指涉,從自我封閉區間的幕後窺望,投向看似開放卻仍是一廂情願的劇場空間。

停泊
「迢迢路」篩選自五百卷35厘米的黑白底片,幾乎全為400感光度和微廣角的35鏡頭拍攝,讓我在有限但熟知的技術條件下得以專心拍照,印放出素描般的場域。圖冊採兩個對頁一圖落版,部份作品兩圖並置意象聯結,順序串連編輯,依循年代註記成時間落點亦為作品名稱,與記憶所及的地名一併放置索引。群聚主題的五十七件作品,若以地區和編年歸類分析,總量比例失衡分配,突顯純粹主觀偏執的藝術度量,澎湖群島有二十八張,台灣各地十六張以及國境之外十三張,無任何裁切格放後製修圖,並帶有「決定瞬間」精神的細框黑邊實體照片,呈現單幅影像自體完整,還原當初所認知的光影對象。每個年份選集的照片數量亦不同,群組位置的安排,期待前呼後應的理想遇合,有些年份收錄多達八到九張,其它零至五張不等,而2008到2010年已明顯找不到我感興趣的照片,從容駐足街頭的直觀攝影至此,彷彿不自覺的逐漸淡出「迢迢路」。

 一直走……
攝影普遍摹繪人像和景物,但《迢迢路》上我似乎迴避與陌生「人」交會,怯場難安於世故溫情,較鍾情於收拾「物」的形態,而簡化「景」的意境鋪陳,更熱衷行旅間的巨觀微察,重複幾種簡單的「看法」,再三檢視我所遭遇的地方,常見影像分散四周,虛實是主體也是邊緣,近看遠眺採集紋理,拼貼「物件」關係,施作線條層次分割仿若碎片的密麻細節,從具象間離為抽象,延伸現實為異境,隱去時間與地點特色的辨識,準確彙整畫面結構,循線拆解「在路上」的抉擇、頓挫、想望,離去或回返,週而復始的專注行走,繼續行走。

 

Along the Road

Chen Shun-Chu

Starting Off
As early as 1990, I had a two-session touring exhibition entitled “Image and Imagery” at Sunny-Gate Gallery, Taipei and National Taiwan Museum of Fine Arts, Taichung. Artworks shown in this exhibition were about my hometown Penghu and taken with my passionate eyes and a pure-photography approach. It was during my college years and a short period of carefree time after military service. By the end of 2009, during a “transition” status in my creation career, I recalled the old good days when I went out to fully enjoy the wonderful feeling of transforming my heart into films as a save visual memory carrier. I decided to compile the casually-accumulated, constantly-exploring, and gradually-forming series of photography works entitled “On the Road”.

Walking Alone
It has been two decades after “Image and Imagery” in the physical time frame; however, the tempo of creative consciousness is not synchronized. Mostly it is rather an optical illusion of journey notes as well as sometimes a reflection of camera shutter as a solution to the desire of photography. With intended run-away and getting lost without exact destination, Penghu still remains as the viewing point of emotion emitting. After twenty years of profound watching under lenses, with decisions of “seeing” and “not seeing” on my own, it has silently transformed into journey notes of blocks and lines. Those rarely-seen absolute landscapes do not possess mobile restlessness of snapshot and do not necessarily adhere to the existing aesthetic shape or construction, either. Rather, they carefully collect essential counterpart elements of each image and reflect the carefully-calculated thinking when visiting country side of Penghu, in a more holistic environment. 

Passing Through
Later I settled down at Taipei. Because of job and traveling, I am always in between either familiar hometown or totally isolated overseas, home-coming or hometown-returning, on the road, on ocean or in the air. I would freely see the world with a fragmental and open-minded way. I would obsessively want to see through buildings or vehicles, during a short moment of stop or resting, from door or window of car, boat or airplane, and to catch up daydreams, constantly-improvised hand gestures, dark shadows, hills and stones, tree leaves, walls, and indescribable front gear viewing frame. Through layers of depth of field moving between in-focus and out-of-focus, realizing on-the-scene and live atmosphere of “what I see is what I am,” I cross over a double-implication internally as well as externally and peep at the seemingly-open and yet wishful drama space through a self-absorbed mind.

 

Anchoring
“On the Road” is selected from 500 rolls of 35mm black and white films and they are almost all done with 400 film speed and slight wide angle 35mm camera lens, in which enable me to concentrate on shooting under a limited and yet much familiar condition and thus develop life-drawing-like inner space. The layout of catalogue is designed to have one image crossing over two connecting pages and some works are arranged as two juxtaposed images for the connection of images. The compilation is based on order of date, which is also title of artworks, while some place names that I remembered are put together as index. If the 57 pieces of artworks in the topic of cluster are categorized under geographical areas and chronicle, the total proportion would not balance and could only indicate a very subjective and narrow-minded artistic viewpoint. There are 28 pieces of photography on Penghu, 16 pieces on Taiwan, and 13 on overseas area. There is no peculiar processing with those images: no cutting, no grading, no post-processing, and no fixing. Those images are presented as tangible photos in black thin frame with the decisive moment, in which each individual image possesses integrity and the original objects under light and shadow as recognized are able to be restored. The quantities of photos in each year are also different. The position of groups matches with the expected order. In certain years, there might have 8 to 9 pieces of photos while none to 5 in other years. From the year of 2008 to 2010, I could not find any photos that I am strongly interested with. Since the directly perceived approach photography on street till now, this implies that I am gradually zooming out from “On the Road” unconsciously.

Keeping Walking…
Overall, photography often portraits human figures and landscapes. Somehow in “On the Road” I seemingly avoid to encounter with strangers. I am too shy to handle with inter-relationship and I prefer to focus on the shape and form of objects. I simplify the presentation of landscapes and rather focus on observing details on trips. By repeating several simple ways of seeing, I review over and over on where I have been. Scenes and images I see very often are everywhere. The issue virtual-reality vs. reality is the main body as well something regional. I look from far and very close as well to collect layers of textures and try to collage the relation of object. I compose with lines and layers as like the delicate details of fragments. From figurative to abstractive, extending from reality into bizarre land, eliminating identities of time and places, concisely integrating the canvas composition…looking for clues on choices, frustration, expectation, departure or returning of “On the Road,”  I constantly concentrate on walking, keeping walking.

陳順築迢迢路攝影集定價1200元
海馬迴光畫館優待價940元

購買方式:
1.親洽海馬迴光畫館
2.轉帳後寄出攝影集(請聯絡 06-2223495,fotoaura.tw@gmail.com)

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