Drawing Study Series 寫生習作系列

drawing study

The concept of the Drawing Study Series originated in 2010 during Wu Chi-Tsung’s residency in Manchester, U.K. Fascinated by the dialectical tension between temporality and eternity in time, he has been experimenting with various video shooting techniques since college. However, it was not until 2021 did he finally develop a real-time image processing system that could process frames in the image in real time during recording, and accumulate the variations frame by frame, so as a linear development of time is recorded and presented. Hence, the boundary between photography and painting is blurred, and a unique visual experience in-between dynamic and static is achieved as if physical thickness were added to time. 

In 2021, while visiting the TAO ART SPACE, Wu Chi-Tsung was captivated by the Buddhist statues from the gallery’s HU BU TANG Collection of antiques. The eternal beauty of the statues sparked him to apply the concept and techniques that had long been incubating in his mind. Similar to how he made use of the light to develop images on films in “Self-Portrait” (2004), Wu Chi-Tsung once again uses a flashlight as a paintbrush to capture the silhouette of the statues and records the tails of light in space, allowing the outlines of the Buddhist statues to gradually appear. The gentle movement and the dim glow have created a yūgenism (profound grace and subtlety) atmosphere, symphonizing the timeless quality of the statues that were created centuries ago.  

Wu Chi-Tsung also applied the same video technique to the daily city scenes in Taipei and the oceanic scenery at Longdong in northern Taiwan. By setting various parameters to adjust respectively the transparency and the lightness of the images, the artist has skillfully played with the video shooting process as a record of time, transforming into a process that is similar to painting, having lights layered on. 

Curator Chia Chi Jason Wang comments that “although they originate from reality, what the artist offers are sceneries that can never happen in the phenomenal world. The artificial fabulation of Wu Chi-Tsung exists in-between reality and fiction, expanding for the works room of philosophical and aesthetic dialectics and allowing viewers to ruminate on the notion of noumenon (or thing-in-itself) and truth.”


2021年,當吳季璁受邀參觀位於台北的藝術空間Tao Art Space時,受其名為「胡不堂」的古董收藏系列中的佛像雕塑深深吸引。佛像的永恒之美啟發其應用長期以來在他腦海中醞釀的概念和技術。近似於2004年的作品《自畫像》中利用光線在膠片上顯影的手法,吳季璁再次用手電筒作為畫筆,捕捉佛像的輪廓,記錄空間中的光跡,讓佛像的輪廓逐漸顯現,與早年作品不同的地方在於,本次為藝術家第一次使用全數位影像的邏輯創作。輕柔的動作和昏暗的光線創造了一種幽玄的氛圍,交響出幾個世紀前佛像的永恒與靜謐。



Drawing study 001

Drawing Study 001 – Seascape LongDong
《寫生習作 001 – 龍洞海景》
Single Channel Video

Drawing Study 002

Drawing Study 002 – Urbanscape Taipei
《寫生習作 002 – 台北市景》
Single Channel Video

Drawing Study – MAO Bodhissatva Guanyin
《寫生習作 - MAO觀音自在坐》
Single Channel Video
Acquired by Museo d’Arte Orientale di Torino

Drawing Study - Limestone Head of Bodhisattva, Sui Dynasty

Drawing Study – Limestone Head of Bodhisattva, Sui Dynasty
《寫生習作 - 隋 灰石菩薩首像》
Single Channel Video