《時光異境》

將 那個已然回不去的無害場景重建，

移放到眼前這個你真正置身其中的世界。

一個宛然的世界。

一個縮影或拼貼重建的世界。

一個遊樂場。

──駱以軍《西夏旅館》[1]

如果從回望的過去，到真實存在的現在，乃至不確定的未來，時間好似一條涓涓長流，無有止盡。但若是在物理的意念軸卷中，時間卻像是一張盡收眼底的全景展開，沒有任何東西消逝成為過去，也沒有任何東西自未來向你逼近；川流不息的時間流，其實只是一張張虛幻的投影。

因為生命的暫時性存在，我們從初生霎刻，隨即啟動了肉身的終點倒數，也進而讓我們意識到時間，時間便如影隨形地成為生命的刻度。

而生命的影像，往往會在細索無聲的流動間浮現出來。

在這幾年我的生命風景進入了不同的階段，彷彿打開門走進了一個房間，房間之中又有了許多不同的門，打開門後又是更多的未知的房間等著我去開啟。

而我想在作品中所運鏡的，就像是足球比賽的傷停時間。人生的某一傷痛；某一吉光片羽；某一頓挫時刻；某一次相遇所遺留下來的東西；某一個夢中夢；某一個遠方的風景；某一個薄霧的記憶；某一個房間裡的情節；某一個既視感的現場……

這些時間空隙的暫停時刻所搬演的夢中劇場，所描述覆寫的異境之書，這種存在於「時間之外」的碎片式的綿延狀態，不就如同生命中的逗號般，接連著林林總總無法言喻的隻字片語，堆疊、建構、素描出一個面對自己的鏡像輪廓。

鏡中之影廓雖是虛幻的存在，但以鏡子本身為主體，確是真實存在的物件，而透過鏡影，透過時光之硯，就可以成為進入另一空間之介面。

有時候時間是線性的，有些時候，時間是環形、螺旋或是無數個瞬間的散置，在另一些時候，它是一條不回返的線，索引穿入一個個不同房間裡的的時光異境。

[1]註釋 引自駱以軍《西夏旅館》。台北：印刻，2008年。第20頁

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《Estranged Land of Time》

Reconstruct the harmless scenes of no return.

Replace it with the real world you’re located in.

[It is] a similar world,

A miniature, or a world of collage,

An amusement part.

--Luo, Yi-Jyun,《Hsi Hsia Hotel》[1]

If we look, from the retrospective past, through the presence we’re now, and go further into the uncertain future, we can see time flowing like an endless river. But if we see the process with a physical insight, time expends like a panorama—there’s nothing vanishing, nor anything approaches. The flow of time is no more than the project of illusion. Due to the temporary existence of life, we have been counting down for the destination since we were born; thus, we recognize time as the calibration of life.

However, the images of life emerge, from the silent flow of time.

My life has been encountered with various scenes in recent years, which makes me feel as if I open a door and enter the room, only to find it equipped with more doors leading to one after another unknown world, waiting for me to disclose. What I intend to reveal in my works is like the injury time in a soccer game. It is a moment of frustration, or something left after we encounter, a dream in a dream, the far away scenery, the memory in the mist, a plot in a room, a spot of déjà vu…

Those dramas played in the pause of injury time are being covered in a book about the estranged land, which describes the continuous state of existence exclusive of time. Those moments resemble the commas in a written passage, don’t they? They are followed with numerous unspeakable words and phrases piling upon each other; thus construct the outlook of a self-portrait in the mirror. However illusive existence it is, the mirror itself is a real object. With the mirror as a subject, and with the medium of time, the door to another existence is open.

Sometimes, time is linear, while sometimes it is a loop, a whirl, or even uncountable flashes. Still, it is a line of no return, an index leading to one room after another.

[1] P.20, Luo, Yi-Jyun,《Hsi Hsia Hotel》, Ink Publishing Co. Taipei, Taiwan. 2008.