作者: 林鴻文
台南應用科技大學美術系專任教授
信手拈來皆是花，恣意幻化遊走間。
他像個行走僧，觀看且遂行在大氣天地間，又像個戲子嬉耍在眾生規範漏褶中，而屬於他的知之爾後的精神底，匯聚著他以石之虛實表現！他一直以來堅持且堅定，將觀想滲入於石，以一種恆定物我兩象間的等衡方式出顯，那種從自然與物化現下的所有中拉出一道靜清明晃的精神之的，是他想要的。
源於自然而歸化自然，藝術家的生命成長有著命定與爾後的琢磨之於的再確認。命定是一種潛質，在未然的召喚前，是永定於悠悠生命無知的角落，一旦被可能喚醒並得以接續時，那源源不絕的生命符碼將一一被排序整合。創作是分秒不止工作於眼前看似合理的既有排序框架，身置其間處置著既是已然又同時要被拆解的工作，屬於他的性靈形體就在這一切操作後從零被再疊起。
態 度
是創作者誠實面對自我，行為著原生的僅有。他的「態度」是一種撥繭抽絲的過程，是創作者生命的價值意志所有。他往復於能解人所不解、視人所無視的生命旅程，之於擎起的「間或之姿」就是創作者著形的命定，其輕可如扇羽，重可如山石。孟璋的創作正是在尋找一種輕與重之間的容留，他將紅塵盡有的輕重見地換轉入自然，再以自然之姿替換世俗，從而作品存有著一種弦外的靜。這種靜的衡度也隨著他的我執歷程越顯出一種屬於他的「定」，而能將「定」持恆一定具備有非凡的心思命定，那是要將知的所有加乘於潛質淬煉而成，需要在說法間無止的顛覆、質疑、推翻、建立，度衡之態才得而成。
隨 心
無法之法。閱讀日常爾後的反省，孟璋以「趨簡」待之，如他作息般精簡，他凡事去蕪留菁，所關心的就如創作作品時的視角般，搬弄眼前所有似是常人無關乎的一切──雖說無關，其實那已經是與實象界對應發酵後他所選擇序列的相關，是對應交質後可能發生的一種再關心；他游刃其間，視之有卻能無，似是無而能生有，幻化間的所有都是問心何得。隨心的生活對應態度是換轉自他面對現實之於我執時更寬廣空間之必要，並琢磨心與石之間的筋骨，將心思慢慢滲入。已然、或然間留駐的當下毫微是他的生命功課，沒有豁然之心就無法持之。孟璋近期的作品呈現的正是如此之像，是隨心往復現象與心象間的容留，是一種隨心態度之於時間的片刻。
歷 程
累世的既有規範之於服膺心命的創作者，那就像是牢籠之於將躍起的神鷹。孟璋循著感覺流動面對所有，感覺是時下眾生已然鈍化的部分，而感覺正是他在所謂的規範中得以釋解的純真保有，那是蘊含了生命一直以來的經驗而粹取出的判準價值。他在規範中碰撞過，在碰撞後被自我整飭過，在不止的操作行為出入間融入了人本自命的觀想於萬象中而得獨一。藝術家付出心命，追尋著一種化外的感知懸念，將現象探求的實虛投影在實我存有而表徵。
直接面對無畏於不止的挑戰，如果沒得輕重拿捏之力，就無能在石與他之間延續說法。孟璋的一切可能性都發生在泰山與鴻毛間的擇定，且已經提升到一種趣味──一種信手拈來於芳蹤，隨心隨興的臻化之境。
The Fluidity of Life in a Crevice
Author: Hong-wen LIN
Professor, Department of Fine Arts, Tainan University of Technology
In the prophetic depth of his spirit lies the crux of his sculptural expressivity. He has always strived to elicit a sense of “visuality” from his stone sculptures, and in such way that highlights the poise an equilibrium between imageries. This is exactly what he desires. To synthesize a spirit of clarity from all that is natural and material.
What comes from nature returns to nature. An artist’s life is something that has been preordained and meticulously honed. Prior to being summoned, destiny is a neglected potential hidden in a corner. However, once it has been given the requiredstimulation and momentum to advance, its innumerable signs or cipher would eventually settle into their respective places.
Making art is an endless affair that often presents itself as a seemingly sensible framework or state. To be absorbed by this state is to enter a realm where the made and the deconstructed are one and the same. This forms the basis that allows his “spirit-body” to reconstruct from nothingness.
Attitude
When an artist looks at himself and his actions with honesty, attitude is the only thing that stands out. Meng-chang WU’s attitude is a continuous process of extraction and deduction that speaks to artist’s core value and resolve. As the artist embarks on a life journey to see the unseen and to know the unknown, he takes the preordained“stance of interstitiality” to a whole new level, be it light as a feather or heavy as a boulder.
Meng-chang’s artwork investigates the fine tolerances between lightness and heaviness. He diverts worldly matters into nature, then replaces the “secular” with said nature. By doing so, he introduces a certain type of ulterior silence. If we were to measure this silence, we may uncover a sense of “stillness” from within the artist. This is a stillness that takes extraordinary mental determination to maintain. To achieve it, one must distill and multiply the summation of knowledge by subverting, questioning,overturning, establishing and balancing of linguistic statements.
Freedom of the Heart
Embracing the method of non-method while reading his own daily introspection,
Meng-chang holds close to his heart and art the belief of simplicity. Leading a finely distilled life allows him to spend more time on what he cares about the most, which is to see the world though the lenses of his work. This may seem trivial to some, but this so called “triviality” that is associated with his art practice does matter in a sense that they are a series of decisions based on fermented realities, forming an exchange that opens up the possibility for renewed contemplation. In this space, Meng-chang is able to effortlessly traverse a conscientious ground of illusion as he draws nothingness out of something, and pulls something out of nothingness. As Meng-chang looks at reality head-on, his unconstrained outlook on life also allows his persistence to operate with freedom in a vast and open field.
By meticulously honing the tendons and bones that bring together his heart and stones, he allows his thoughts to gradually seep into his work. At last, the minute contingency lingering in the present can be seen as Meng-chang’s life lesson, which cannot be sustained without an open heart. All the above may be summed up in Meng-chang’s recent bodies or work. They function within the tolerance created by the crisscrossing of phenomena and mental imageries. They are moments carved from the freedom of one’s heart.
Journey
An artist who confronts life head-on is capable of eluding its normalizing entrapment. Much like an eagle escaping from a cage, Meng-chang advances forward by ridingon a sensorial updraft. While the ability to perceive feelings has largely degraded among the general public, it is precisely this sensory prowess of his that allows him to retain a tangible innocence. In other words, he has established a newfound standard derived from the accumulation of lived experiences. As he restructures himself after challenging the venerable norm, he stands out from the rest by his relentless actions in the scope of art-making and his attempt to place human thoughts within the realm of everything .
As an artist who dedicates his life in search of remote sensorial fluidity, he seeks to project both phenomenological truths and falsities onto the realities of his thought process and artwork. He fearlessly takes on the many challenges on his artistic venture, and if it were not for his masterful handling of emotional weights, then his relationship with stones would surely be unsustainable. As every possibility and choice happen within the tolerance between a mountain and a feather, perhaps we can say Meng-chang and his work have arrived at a point where beauty and perfection have amalgamated into an instinctual second nature.
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