Shed by the sun in eclipse

BACKGROUND Shed by the Sun in Eclipse was informed by a conceptual framework derived from the writings of Gilles Deleuze, which enabled the conclusion that painting involves an activation of surfaces in an event felt as a difference in intensity. Painting has customarily been understood as a form of mark making that renders materials and arrangements of lines, or areas of colour, into compositions on surfaces. While a painting can be conceived of as more than a marked surface, it is primarily these surface features, and their particular qualities and arrangements, that are said to comprise the material aspects of a painting. CONTRIBUTION My research suggests that a painting ought to be reconceptualized as any surface that has a media (not exclusively paint) applied to it. Thus in addition to the more conventional paintings on linen and on the wall, I also regard the shelf and its shadows as a form of painting, as are the patinated bronze sculptures. In the works exhibited I explored various techniques in the treatment of the surfaces of a painting thus elaborating both what a painting does, and the idea of what can constitute painting. SIGNIFICANCE Informed by my analysis of Deleuze's work, I have come to understand painting as any surface that is activated, and not only activated by the application of paint, thus introducing a new conceptual framework for an expanded understanding of painting.

背景：《日食下的遮蔽》（Shed by the Sun in Eclipse）的创作依托吉尔·德勒兹（Gilles Deleuze）著作所构建的概念框架，据此可得出结论：绘画是在一场被感知为强度差异的事件中，对平面（surface）的激活。绘画通常被视为一种标记创作形式，即将材料、线条排布或色块整合为平面上的构图。尽管绘画可被视作不止于带有标记的平面，但学界普遍认为，正是这些平面特征及其独特属性与排布，构成了绘画的物质层面。
贡献：本研究提出，应将绘画重新概念化为任何施加了媒介（media）的平面，且该媒介并非仅局限于颜料。因此，除了更为传统的亚麻布与墙面绘画之外，笔者亦将置物架及其阴影、带有铜绿的青铜雕塑均视作绘画的一种形式。在参展作品中，笔者探索了多种处理绘画平面的技法，以此阐释绘画的作用内涵，以及可被纳入绘画范畴的元素边界。
意义：基于对德勒兹著作的分析，笔者现已形成全新认知：绘画是任何被激活的平面，且激活方式并非仅局限于颜料的施加，这为拓展对绘画的理解提供了全新的概念框架。