這是2002年時藍劍虹為mido的展覽所寫的文章，英文是陳昱妤所翻譯。文後附mido的展歷。

　　
秘境書寫文/藍劍虹羅蘭‧巴特（R.Barthes）是法國知名作家、文學理論家，但他也常作畫自娛。有次他在＜字的色彩＞一文裡，提到他去買顏料的事。他這樣說：「每當我去買顏料的時候，我只看顏料名稱。這些名稱（比如說印度黃、波斯紅、塞拉凍綠）大抵與產地有關，但由這些名稱卻無從知道裡面的準確的、特殊的色澤是什麽。」僅管如此，作家藉此指出，這些名稱不是無用的，而是允諾著樂趣，因為透過這些名稱我們預（慾）想著將來呈現出來的色彩。名稱，也就是「字」，以其書寫動作及音韻，關閉我們的眼睛，如此弔詭，誘惑我們去想見色彩。直覺的覺得王永成的這些畫呈現了某種極限的書寫慾望。但，那可是畫，不是嗎？一種純粹書寫的極端運作，以大量的重覆書寫和抹試最終吞噬了「畫」與「書寫」的界限。怎麽說呢？首先，除了少數幾張畫約略可見人形之外，所有形象一概被抹除。這一點我們可以從《登臨隨意之境》《散步》《前進異域》等畫作清晰見到那抹除的慾望出現。我們也不應該認為那少數畫中，或是其他畫中，不管我們可以猜想或見到的形像，如「海馬」「大螞蟻」等是作者刻意營造其形象之曖昧，那應該是筆跡運作的後遺效應。另一點，從畫作標題來看，作者無意標明那是純粹的抽象畫，作者甚至邀請大家可以來為其作品命名。不管此舉出於遊戲或其他的心態，「名稱」都被懸置或處於漂移狀態。如何解釋？或許可以這麽說，那是一種將「畫」的動作極度刪減到只剩下單純的筆的運作，但是這個動作或集中或滿佈，橫逸畫面。畫者以一種少見的材料，油畫棒，來直接作畫（書寫）於畫布上，一種成棒狀的油畫顏料，那其實像國畫裡的墨條。問他為什麽選擇這種材枓的原因，他說，這樣可以讓「畫筆」運作的時間無限制的加長，而無須擔心顏料沒有了得再去沾取顏料而中斷畫或書寫的動作。那確實就是一支「筆」了。筆跡幾乎清一色都是黑色。黑色是構成書、形成文字的主要顏色，但也是呈現最直接的抹除。書寫與抹除，兩種慾望同時呈現，或者說因重復不斷的書寫而被抹拭。我們也可以於《秘境》或其畫者早先其他畫作中看到偶畫筆尾端刮除油料呈現筆痕的繁複動作，此動作具體同時展現刮除和留下痕跡（書寫，最初的動作；希臘文「書寫」grapho，源自螃蟹於沙灘爬行的痕跡）。在畫者家中有數幅滿佈綿密細如髮絲的曲紋畫作，我好奇詢問這些痕跡如何產生，那回答真是令人吃驚。那是以舊報紙黏貼於畫布油料上，再以任何有尖端的物品，如筆端、夾子和梳子等於報紙上刮劃，而將報紙上滿佈的鉛字因刮擦的壓力而留痕跡於畫面。這樣的處理方式，這樣的繪畫方式逼迫文字使其成為畫面，削減文字迫其殘存紋痕狀態。這替處理，我不禁想，那些曲繞游動的紋痕到底是畫還是字？難道這種處理方式不逼使「畫」與「文」回到共同的起源處？猜測這也是那張《排隊上樓梯的大螞蟻》的運作策略，直幅形式，白底那濃烈墨跡彷彿那狂裂的草書，各種筆觸運動方向彼此糾雜牽繞，重複書寫形成無端尋揣其義之符號，從重複堆積或是相互抹拭中，作者企圖逼迫書寫運作至逼顯出某種潛在欲顯但又隨即遭自身所吞噬的形象來，那形象彷彿正在翻騰中。在《叢林的聲音》《酒後的邀約》或是《假日公園》乃至《海馬強暴死魚》中，形象被狂裂筆跡擴散而激蕩出某種如咒語般的音質，語調；叢林，酒後，節慶與暴力，巫祭之語。何謂登臨「隨意」之「境」？那是何種「隨意」？極限的書寫或是畫之動作，被極度運作到摧毀任何意符，抹除吞噬任何符號圖像，唯存留憾人迷惑的始源動作與慾望。於畫者家中看畫時，見到一批最早先的粉彩畫作，光亮般夢質色彩，使我想到一些中古時期修院中修女的靈視畫作和同樣擅長以粉彩作畫的象徵主義畫家魯東，有著同樣的奇詭畫面，我問畫者，這些景象從何而來？他簡單的回答說，只需閉上眼睛，過會兒就會有彩色的景象自動浮現，他只需將這些景象描繪記綠下來就是。多年後，畫者以同樣的方式，閉上眼睛來書寫，他不再是為了召喚景象，眼皮的閉合動作，彷彿是嘴的吞噬，吞噬任何可見可讀之景，以憑藉手與身體的直覺動作，召喚、彌平圖象與語意分裂之鴻溝，企圖回分裂之前的狀態，那手之書寫動作，動作本身己然足具生產出始源性的符號，意義（欲意）在其中瞬生乍滅彷彿連鎖反應，然始終無法固定（或許這解釋了「名稱」的始終漂移）。幕幕畫面留下這個回到想像之起源的過程中的種種片刻運作情狀和顫音。神話寓意起源前的片刻景象，正召喚著觀者予以命名賦意，巴特買顏料的故事被顚倒過來了，我們身處臨見於某秘境異域色彩之中，被迫張口結巴吐出末曾聽聞過的異國語言予以命名，那將是我們生平第一句自行發明的「咒語」，如那「海馬強暴死魚」畫者小女兒所說。巴特的同代人，作家普魯斯特這樣說：最美的語言來自他方咒語，那產自於我們於使自身語言開始結巴之處。（2002年寫，作者現係台東大學兒童文學研究所博士生）
Writing in Realm of Secretsby Lan Jian- HungRoland Barthes was a well-known French writer and literature theoretician, and he also did some paintings for entertainment. He once mentioned about buying pigments in his article Colors of Words. He said: “Every time I buy pigments I only read the names of the pigments, such as Indian yellow, Persian red, and Sierra Leone green. These names are more or less related to their habitats, but I hardly know the specific hues of these pigments only through their names.” Nevertheless, the writer pointed out that these names are not useless; instead, we can expect what kinds of hues the pigments might have through their names. Names, that is to say, “words”, make our eyes closed and attract us to imagine colors so weirdly by their writing actions and sounds.I intuitively think that Wang Yung-Cheng’s paintings show writing desires up to some limits. However, they are pictures, aren’t they? With large amounts of repeated writing and erasing, the extreme operation of simple writing finally engulfs the boundary between “painting” and “writing”. How to explain this idea? First, all the other images have been wiped up except a few paintings of which human figures could still be seen. Such a desire of erasing is obviously presented from several paintings such as Reaching the Realm of Free Thought, Strolling, and Towards a Foreign Land. No matter how we could imagine or see the images, we should not misunderstand the images as ambiguous ones purposely created by the author among the small number of paintings mentioned before or other paintings such as “sea horse” or “huge ant” ; instead, it should be viewed as the carryover effect of writing operation. Second, from the titles of the paintings we can find that the author has no intention to indicate his paintings as absolute abstract paintings; he even welcomes others to name his works. Whether this deed is out of amusement or any other attitude, “name” remains suspended or unfixed. It can be explained that his strategy which is applied to gather or scatter strokes on the whole canvas is a way to reduce extremely painting actions to simply writing actions. The painter uses oil bar, a rare material, to paint directly on the canvas. An oil bar is a stick-like oil pigment, like Chinese ink sticks in traditional Chinese painting. The reason for choosing this kind of material is that using oil bar can avoid the problem about the exhaustion of pigment. Therefore, he would not have to worry about painting or writing with pause for getting more pigments. That is, it unrestrictedly lasts the operation time of “the painting brush”. In this way, the painting brush becomes exactly a “pen”. The painter’s script on the canvas is almost black, and black is the main color of writing, though it also represents the direct erasing. Both writing and erasing are displayed at the same time, or we can say that the strokes are erased because of repeated writing. In Realm of Secrets or the earlier paintings, we can find he used the end of the pen to scrape oil pigments on the canvas to produce imprints. In this way, both the action of erasing and leaving traces are concretely displayed simultaneously. (The Greek grapho which means “writing” in Modern English derives from the trace on the beach left by a crab’s crawl.) There are several pictures painted with countless winding thin threads as hairs at the painter’s home, and I am curious about how these imprints were made. The answer is quite surprising. He first pasted old newspapers on the canvas, and then used any tool which has sharp point such as pen tips, clips, and sharp tail combs to scrape on the newspaper in order to let the letters on the newspaper be imprinted on the canvas by the pressure of scrape. This way of painting presses words to form pictures by reducing them to simply thin stripes. It makes me wonder if these winding stripes are actually words or pictures. Is it possible that this painting strategy forces “painting” and “writing” to go back to their mutual origin?I guess this strategy is almost the same as that used in Huge Ants Waiting in Line for Going Upstairs. It’s in vertical form, and the strong script on the white background is just like wild Grass hand. Various strokes in different directions move, tangle with each other, and are repeated to signs that cannot be distinguished. From repeated reduplication and mutual erasing, the author intends to force writing operation to display some kind of image which is potentially to reveal but immediately engulfed by itself. Such an image seems to be tumbling and soaring.In The Voice of Jungle, The Invitation after Drinking Liquor, Holiday Park, and The Sea Horse Rapes the Dead Fish, the images are diffused and agitated by wild script to congeal some kind of incantatory tone like witchcraft language on “jungle”, “after drinking liquor”, “festivals”, and “violence”. And what does reaching “the realm of free thought” mean? What kind of “free thought” it is? The writing or painting actions are extremely operated to destroy any sign and symbol; only the breathtaking and captivating original actions and desires are left. When enjoying the works at the painter’s home, I found a batch of the earlier pastel drawings of him. Their luminous dreaming colors remind me of the vision paintings made by nuns in convents in the Middle Ages and Odilon Redon, a symbolistic painter who was skilled in pastel drawings. All of these paintings have strange images in common. I asked the painter to explain where these images come from? He simply replied that as long as he closes his eyes, colorful images will soon rise before his mind naturally, and all he has to do is take down these images. For several years, the painter uses the same way in writing with his eyes closed, but not for summoning images any more. He opens and closes his eyelids as if the mouth devoured any visible and readable images. With the intuitive operation of the hands and the body, he fills up the gap between images and meanings, intending to go back to the condition before their division. It seems that the writing action itself has already been able to produce original signs, and the meanings instantaneously appears and disappears like chain reaction though they could not be fixed throughout (Perhaps this explains the drift of “names”). Each scene keeps the various instantaneous operating condition and trills in the process of going back to the origin of imagination. An instant scene before the origin of mythic implications is summoning viewers to give a name and a meaning to it. The story about Barthes buying pigments is upside down, and we find ourselves in a secret world of colors, being forced to stammer the names given by foreign languages which we have never heard before. That might be the first “spell” we create by ourselves in lives, as the little daughter whose father is the author of The Sea Horse Rapes the Dead Fish said. Belonging to the same generation of Barthes, the writer Marcel Proust remarked: “The most beautiful language derives from other place’s spells in which we begin to speak our own language with a stammer.”(The author is a Ph.D. candidate in Graduate Institute of Children’s Literature, National Taitung University.)


個展/重要聯展
Solo exhibitions
2001 「無性繁殖系列」個展 台南市立圖書館2002 「排隊上樓梯的大螞蟻系列」個展 台南市立藝術中心 2003 「QQ一串心」個展（裝置） 台南仁德米窟2003 「原鄉的卡里斯瑪」個展 台中市文化局大墩藝廊2003 「曠野中的Mana」個展 台南市東門美術館2003 「2003—2004年創作展」台南市新相設計工作室2008 「風逍逍．意飄飄」個展 雲林縣文化處2009 「秘境」王永成創作個展 台南市東門美術館 台北市東門美術館
2001- “The Series of Asexual Reproduction”. Tainan Municipal Library, Tainan City.2002- “The Series of Huge Ants Waiting in Line for Going Upstairs”. Tainan Municipal Cultural Center, Tainan City.2003- “A String of Heart of QQ”. (Installation Works) Rice Warehouse Art Space, Jen-Teh, Tainan County.2003- “Charisma of Native Homeland”. Tatun Gallery, Cultural Affairs Bureau, Taichung City.2003- “Mana in Wilderness”. Licence Art Gallery, Tainan City.2003- “Creative art exhibition in 2003-2004”. Shin Shiang Design Studio, Tainan City.2008- “Floating Wind & Free Thoughts”. Cultural Affairs Department, Yunlin County Government.2009- “Realm of Secrets”. Licence Art Gallery, Tainan City and Taipei City