【小肉島上的白日夢】吳衍震個展

   [Daydreaming on maetderland]  Wu Yian Chen’s Individual Art Exhibition

遊歷並佇足於台灣各處，並與當地的人事物進行實質上或心靈上之交流。

『肉片男孩』系列是藝術家吳衍震自我投射之虛擬個體，被賦予生命及其視角。近年自原先的都市社會描繪漸漸地走入鄉間村落，心境和觀察角度的轉換，體現於其畫面中——整體彩度相對降低，並帶些許粉色調；畫面中元素則注入許多當地特有景色、動植物⋯⋯等等。

肉片男孩，運用被定義為較無深度意念的扁平風格，實則卻是個具思維的戲虐性反諷者。村上隆的超扁平宣言(The Superflat Manifesto)所述那速食、僅重視表面且欠缺思考的超扁平世界，反應著至今大眾社會之現況。肉片男孩試圖脫離這已扁平化的頹靡，直奔那原萃的人文和富野的自然環境，體會並反芻人類在對待土地的一些轉機和希望。

從2014年《人造天堂》個展後再度回到襲園美術館中，彷彿至各處遊歷後的肉片男孩們再次回母島休憩，同時審視自己。而白日夢亦好比莊周夢蝶——倘若白日夢片刻真實，那夢境與現實間的界限又在於何處？抑或是現實才個白日夢呢？

 Interactions of Matter and Mind with the locals and their culture on his travels around Taiwan
 
[Collop Boy] series is a virtual entity created through Artist Wu Yian Chen’s own self-projection, a character that is given life and its own viewpoint. In the recent years, the focus has gradually shifted from urban settings to rural portrayals. The change of atmosphere and observing perspective can be seen within the paintings – the overall chrominance has decreased with a slight pink accent. The elements that appear within the paintings now include local sceneries and plants. 
 
Collop Boy adopts what is perceived as a more shallow and pavemental style, when in reality, Collop Boy is a satiric individual with its own ideas of thought. The shallow and appearance-heavy Superflat world described in Takashi Murakami’s [The Superflat Manifesto] reflects the values of modern society. Collop Boy attempts to detach himself from the decadent world and embrace the essence and humanity and the rich diversity of the natural environment; experiencing and ruminating the changes and hopes of how humans treat nature. 
 
Returning to A-heritage museum from [Man-made Paradise], is like Collop Boy’s return to the mother island after his travels and reexamining himself. Comparing daydreaming to the Butterfly Dream, if daydreaming is for a brief moment – realistic, then where do the boundaries lie between dreams and reality? Or is reality just a dream?

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