「光」,是我創作生涯三十年以來主要研究的課題,在創作上逐 漸發現過往的色彩理論,已無法滿足我對光影表現的追求。印象派過 於注重光影而忽略形體輪廓,以致光影與形體間產生「取捨」,而這 成了我欲突破的課題。傳統繪畫長久以來依循光、色分離的概念,兩 者三原色並不一致。然而,既然光帶來色彩,光即是色彩,本出同源, 最終理應相符,為何兩者之三原色竟有所區別?在我以光的原理所出 發的色彩理論中,藍色多為光衰減的結果,因此我進一步調整,統一 了光與色料三原色為全新的光色三原色(洋紅、黃、鮮綠),即所謂 「光色合一」,並提出實例及當代色彩理論予以佐證,縮小繪畫與現 實之間的差距,使畫面更具傳統繪畫所無法達到的真實與立體感。
‘Light’ has been the main subject I have studied throughout the past 30 years of my creation career, during which I gradually realized that traditional color theories could no longer satisfy what I sought to express about light and color.
The Impressionists’ over-attention to light and shadows led to the overlooking of form and contour, and caused an ‘either light or form’ conflict that I have been attempting to resolve. All along, traditional paintings have relied on the theory that light and color were separated, so the primary colors of light and pigment were not consistent. However, light produces colors; in other words, light is colors, both come from the same root and should would converge eventually. So, why there are differences between the two? In my theory, stemming from the fundamental characteristics of light, blue is mostly a result of the attenuation of light. Accordingly, I made adjustments and brought forth my new three primary colors (magenta, yellow and viridian green) ,further, unify the three primary colors of both light and pigment i.e. ‘Color-Light uni cation’. I analyzed and proved them based on practical application together with supportive contemporary color theories, thus minimize the difference between paintings and reality, producing more vivid, 3D and stereo-perceptive etc in artwork that traditional paintings could not achieve.
