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wen gum gum Solo Exhibitio
2023
老鼠並不笨 溫佳寧個展 @伊日Back.Y（臺北）
15 July - 5 August
展覽論述
「一個穿著高跟鞋的人身體扳成九十度，頭穿過胯下看著你，健壯的雙腿從這個角度被凸顯，網格絲襪幾乎變成鐵絲做的，甚至可以當作血管。時間定格，想像畫面變成立體的，所有人的身體和雙手都消失了，頭直接被安裝在胯下，連接雙腿——這對某些人可能是一場惡夢，同時卻又是一場充滿裸體及戀物元素的春夢，一個同時使人極度抗拒卻又渴望的組合。」 —游承彥
曾經有一日，透過教育部青年署的補助計畫來到紐約，我在夏日炎熱的公寓廚房煮麵。爐台內的小老鼠探出小眼睛看我，讓我花了更多時間在轉開與轉滅火焰，身後的畫家先生說「就開火，老鼠才沒你想得那麼笨。」當時版本的我甚至還有更多的未知，不知道爐台內的空間長怎樣，也不知道到底自己的創作慾望是更反美學還是更反智。但就慾望而言，我搜集了許多書，就像有人曾這樣描述「讀不懂沒關係，多讀幾次就有可能讀明白」，我抱著幾乎扛不動而瘋狂掉落的書本跟情感回到臺北。在面對繪畫時，許多讀不懂的部分反而更令我著迷，又，在獨自創作時，我才能與陌生的自己生成那些陌生的對話。
看著檳榔盒上印刷的女郎或電視廣告中的女性身影，為什麼這些人造的「她」笑容看起來如此相似？拍下她們，快速翻閱時，笑容停留。這些身影以一種晃動的方式留存，受到媒體中躁動的影像吸引，我拾起她們進行描繪。在行旅中，受到地上垃圾紙片的引誘的我停下忙碌的心思，用雙手梳理這些使人慾望、同時使我困惑的魅像。相比於受困於性別的邪惡期待，我想透過創作作為一種善意的提醒，但我想提出此種善意，如鼠族在火爐間穿梭，被明滅的爐台眷顧。若善意能主動狩獵（Good Will Hunting），我想老鼠確實不可能毫無計畫。我不懂爐子內的構造，作為畫者也有看不明白畫的時候，作為類比，紐約小老鼠既然有辦法在爐台內閃躲，畫者也有能力掌握難以處理的描繪對象與觀眾意識。我透過繪畫與影像裝置，改變身體與形象的邊界，藉由那些面目模糊、使人困擾的人物影像，以一種踰越而輕鬆的攻擊性，以假的火去烤問觀眾。
Of Mice and Women(2023)
wen gum gum solo exhibition ＠YIRI Back.Y(Taipei)
Essay
"Of Women and Mice 老鼠並不笨 (Mice are not dumb) as the exhibition title serves as a hidden hint to convey the message that "women are not dumb" or "artists / painting are not dumb." This is done in contrast to other forms found in contemporary art, where painting is sometimes considered a medium lacking active social engagement or the provision of knowledge. Secondly, I frequently encounter conversations like the following: Stranger: "Oh, you do painting? My wife and daughter also learnt painting. They don't like study." (logical fallacy?! Ordinary middle-aged Taiwanese strangers seem to not consider art or painting as a ‘useful’ field of study.)Therefore, I hope that people won't imagine things based on their own understanding of a particular subject. This world often employs the male gaze to observe people, as a person who do paintings, I provide a different perspective of observation.
關於「無身體女性」或「無身體的人」：
首先，這不是我的發明，是來自於網路間的創造（戲謔的情慾圖像，令人不悅卻印象深刻）。我取用了它。並試著開展「無身體的女性」的不同意義（再思考所謂「女性」或「陰性」）。
about “bodiless women" or “people without bodies":
It is not my invention but a creation that originated from the internet (a sarcastic and provocative erotic imagery that leaves a lasting impression). I have taken inspiration from it and attempted to explore the various meanings of "bodiless women" (reconsidering the notions of "femininity" or "feminine").
在藝術史中關於女性情誼的圖像，時常在「友誼」與「戀情」間模糊不清。我想描繪這樣保留女性之間親密感的圖像，但不希望它成為被意淫的樣子，因此是用一種類似於素描的方式描繪。
In the art history of depictions of female relationships, the lines between "friendship" and "romance" have often been blurred. I want to portray images that preserve the intimacy between women, but I do not want it to be objectified or turned into a fantasy. Therefore, I have chosen to depict it in a sketch-like manner.
感性的偽裝（sensual disguise)
這件作品流露出同樣的意思，看向觀眾，一臉「你還想拿我怎樣」的表情。
The next painting conveys the same idea, with the subject looking directly at the viewer,
displaying an expression that seems to say,
"What more do you want from me?"
Sketches