日常相對論：陳睿淵個展「微塵與日暈」
文｜異雲書屋
陳睿淵個展「微塵與日暈」於 2026 年 8 月 29 日至 10 月 10 日在異雲書屋金華館展出。展題中的「微塵」、「日暈」，以及以第一人稱視角藏身其中的「觀看者」，透過不同的觀測座標與心理距離，三者構成一幕幕「日常之奇觀」或「奇觀之日常」，映射出人類與外在環境的交互關係。
陳睿淵生於馬來西亞馬六甲，今年是他來台生活的第18年。面對兩地截然不同的氣候、地貌、建物，一開始的視覺衝擊與疏離，隨著寒來暑往，似乎就像櫥櫃表面日益積聚的塵埃，成為習以為常的景觀；然而，每當遷移發生——回家、遷居、駐村、旅行——那些儲存於記憶中的物事，再度映入眼簾時，即令他意識到，它們已與昔日所見產生歧異。而他彷彿必須重新對焦一般，越過一段自身不在場的真空期，再次適應原本熟知的一切。當記憶中的「熟悉感」混入了「異地/陌生感」，尋常與奇幻之間的界線逐漸變得迷離。
從這樣的感知經驗出發，陳睿淵筆下的風景，就非單一地景、單一時刻的再現，而是一種觀看的疊合，彷若相機二次曝光或長時間曝光的視像，並且未必是定點式的，顯露出環境的流動——其本身並不僵固，以及人們經常對此後知後覺——生活周遭持續地變遷、代謝，無論是自然萬物的榮枯、流轉，或者市鎮裡的拆除、增建、位移與更替。就此層面上，建物也不僅僅是作為被描繪的物件，而成為了辨認時間推移的參照物，猶如是大自然的四季更迭一樣。
為此，陳睿淵運用膠彩顏料，結合金屬箔、螢光色顏料、夜光顏料等媒材，將上述概念以更貼合其真實質地的面貌呈現出來。他所選擇的繪畫方法，並非單純地將顏料塗佈於紙上，而是以水干、土繪具等粉質材料加入大量水分反覆薄染，隨後再透過擦洗與建築線稿的轉寫來建立畫面。其中，色粉從懸浮到沉降、從附著到被帶離，皆在物質與象徵層面，和生活中的落塵、降雨相應和，分別代表時間的累增與消逝；而特別強調外框線的建築形貌，則與都市計畫藍圖相似，從無到有、從虛到實、從構想到興建，在若隱若現的舊痕跡上增繪新的線條，一次次改寫城鎮的景觀。此外，金屬箔、螢光色顏料與夜光顏料等材料，與細膩的粉質材料形成對比，它們所具有的特殊色澤，恰如其分地傳達出萬千既熟悉又奇異的人造光或者大氣現象。
在本次展覽中，作品〈黑山 III〉即來自陳睿淵多次行經台北北門一帶，觀察並記錄新建築逐日增高的巨大鋼骨結構，及其與古蹟城門的對比，顯現今昔之「巍峨」程度有別，而使之能迭代揚升的，無非是四周川流不息的人類活動；作品〈湍湍 II〉則採集了台中舊城區河川水脈的沿岸風景，經由步行與騎行中的視點轉換，重新組合那些於不同速度、位置與時間所得的新舊地標景象，形成似真實幻的都市景觀。
作品〈25.0539°N, 121.5144°E〉與〈環〉的靈感來自於台北的建成圓環，百餘年來，在這個相同的位址曾歷經數度巨變：最初是日治時期的公園，後來形成台北最有名的庶民小吃夜市，至二戰時興建防空蓄水池，戰後恢復人聲鼎沸，又於1999年慘遭二度大火使商圈轉移，幾年後興建玻璃帷幕美食館卻營運慘澹，2016年拆除玻璃帷幕建築，回歸綠地廣場。陳睿淵將不同時期曾存在的建物結構疊置於畫面中，使之不只像是耗時數年的曝光成像，又彷如近年所觀測到的宇宙黑洞影像：物質在強大重力作用下持續聚集，一旦越過事件視界，連光也無法逃脫。借喻過往的生活痕跡與記憶，在時間層層積累、覆寫之下逐漸塌縮，最後越過可被追溯與辨識的界線，歸於無形。
其他則還有〈風場〉、〈映日〉、〈暮照〉、〈小雲霞〉、〈微光〉等，源於日常「可遇不可求」的自然景觀，這些看似偶然的奇景，實際上，它們出現得比想像中更為頻繁。有趣的是，雲朵、霞光、虹彩或者日暈，也都仰賴光線與大氣中的凝結核在特定條件下相遇而具現，隨氣流飄散的細微粒子因此和日常起居的案頭塵埃形成對照。於是在諸般的「日常」與「奇觀」間，若將城市興廢過程中的異樣面貌，視為藏於尋常生活中的「日常之奇觀」，那麼那些稍縱即逝、卻反覆發生的自然現象，便屬「奇觀之日常」——而身處其中的人類，則如宇宙微塵般，在大千世界中短暫地聚合、綻放光芒，隨後離散，如此往復循環。
陳睿淵「微塵與日暈」展覽在許多層面埋藏了他細膩的思索與情感，最終凝聚出本次展覽主題的意象：微塵，自然而然地落定，直到下一陣大風揚起；日暈，在高空中兀自發生，只要你願意抬頭就有機會得見。它們從不是為了被觀看而存在，卻在觀看發生的那一刻，令人重新覺察自身所處的位置與時間。
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Everyday Relativity: Tan Rui-Wen’s Dust and Halo
by YIYUN ART
Tan Jui-Wen’s solo exhibition Dust and Halo is on view at YIYUN ART Jinghua from August 29 to October 10, 2026. The “dust” and “halo” of the exhibition title, together with the first person “observer” embedded within the works, establish different frames of reference and degrees of psychological distance. Together, they create scenes in which the everyday becomes extraordinary and the extraordinary becomes part of everyday life, reflecting the ways people and their surroundings continually shape one another.
Born in Melaka, Malaysia, Tan has now lived in Taiwan for eighteen years. The two places differ greatly in climate, landscape, and built environment. The initial visual shock and sense of alienation he experienced in Taiwan gradually settled with each passing season, like dust slowly accumulating on the surface of a cabinet, until they became part of the familiar landscape. Yet whenever another period of movement began, whether returning home, relocating, taking up an artist residency, or traveling, places and things held in memory would appear before him again and reveal how much they had changed. It was as though he had to refocus, crossing a blank interval marked by his own absence before reacquainting himself with what had once been familiar. As the familiarity of memory became mixed with displacement and unfamiliarity, the boundary between the ordinary and the fantastical grew increasingly uncertain.
Beginning with this experience of perception, the landscapes in Tan’s work are not representations of a single place or moment, but a layering of ways of seeing. Like a double exposure or a long exposure photograph, they are not necessarily anchored to a fixed viewpoint. Instead, they reveal the environment as fluid rather than fixed, while also showing how often we recognize that fluidity only in hindsight. The world around us is constantly changing and renewing itself, through cycles of growth, decay, and movement in nature, as well as demolition, additions, relocation, and replacement within towns and cities. In this sense, buildings are more than objects to be depicted. They become markers through which the passage of time can be read, much like the changing seasons in nature.
To give these ideas a material form closer to how he experiences them, Tan works with pigments bound with glue, combining them with metal foils, neon acrylic paint, phosphorescent pigments, and other materials. Rather than simply applying paint to paper, he repeatedly builds thin layers with finely powdered materials such as suihi and earth pigments, heavily diluted with water. He then develops the image by rubbing and washing areas back, and by transferring architectural line drawings onto the surface. Pigment particles move from suspension to sedimentation, from adhering to the surface to being washed away. On both material and symbolic levels, these processes echo settling dust and rainfall, suggesting the accumulation and passing of time. The architectural forms, defined by pronounced outer contours, resemble urban planning drawings. From the imagined to the built, from conception to construction, new lines appear over faint traces of what came before, repeatedly rewriting the cityscape. By contrast, metal foils, neon acrylic paint, and phosphorescent pigments stand apart from the delicate powdery surfaces. Their distinctive color and luminosity evoke the countless forms of artificial light and atmospheric phenomena that are at once familiar and strange.
In Black Mountain III, Tan draws on his repeated journeys through the area around Taipei’s North Gate, where he observed and recorded the massive steel frame of a new building rising higher day by day. Set against the historic city gate, the structure reveals how different forms of monumentality belong to different eras. What allows this scale to continue rising is the ceaseless flow of human activity around it. The Course II, meanwhile, draws on views along the waterways of Taichung’s old city. Through shifts in viewpoint while walking and cycling, Tan recombines old and new landmarks encountered at different speeds, positions, and moments, producing an urban landscape poised between reality and illusion.
25.0539°N, 121.5144°E and Circle were inspired by Taipei’s Chien-Cheng Circle, a site that has undergone repeated transformations over more than a century. It began as a park during Japanese rule and later developed into one of Taipei’s best known night markets for local street food. During World War II, an air raid water reservoir was built on the site. After the war, the area became crowded and lively once again. Fires in 1993 and 1999 accelerated the market’s decline and shifted commercial activity elsewhere. A glass walled food center was later built on the site but struggled to attract business. In 2016, the glass structure was demolished, and the site was eventually returned to a green public plaza.
Tan layers architectural structures from different periods into a single image, creating something like an exposure made over many years. At the same time, the image recalls the ringlike forms produced by recent observations of black holes. Under immense gravity, matter is drawn inward, and once it passes the event horizon, it cannot return. Beyond this boundary, not even light can escape. As a metaphor, traces and memories of past lives likewise collapse beneath successive layers of time and rewriting, eventually crossing a threshold beyond which they can no longer be traced or recognized, and disappearing from view.
Other works, including Wind Field, Beneath the Sun's Glow, Twilight, Rosy Cloud, and Glimmers of Light, draw on fleeting natural phenomena encountered by chance in everyday life. These apparently rare spectacles, however, occur more often than we might imagine. Clouds form around condensation nuclei, while glowing skies, iridescence, and halos arise as light interacts with molecules, atmospheric particles, water droplets, or ice crystals under particular conditions. The minute matter carried by air currents thus forms a counterpart to the dust that settles on a desk in everyday life.
Across these shifts between the everyday and the extraordinary, the strange forms produced through the rise and decline of cities can be understood as moments when the everyday becomes extraordinary. Fleeting yet recurring natural phenomena, in turn, reveal how the extraordinary becomes part of everyday life. Human beings within these processes are like motes of cosmic dust, briefly gathering and giving off light within a vast world before dispersing once again, only for the cycle to begin anew.
Throughout Dust and Halo, Tan embeds layers of careful thought and feeling that ultimately converge in the two central images of the exhibition. Dust settles of its own accord until the next gust of wind lifts it again. A halo forms high in the sky, and anyone willing to look up may have the chance to see it. Neither exists in order to be seen. Yet at the moment it is seen, each can make us newly aware of where we are and of the time in which we find ourselves.
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