和光接物 ──讀陳孟澤「內化的靈光」

看過陳孟澤作品的觀眾，大多會不由自主地被引入畫面之中，隨著作品所散發出來的靜謐與細膩溫潤感而安靜下來，甚至就像是第一次打開眼睛要去真正的凝視這個世界一樣的單純，一樣的期待。它不是強烈的吸睛，也不是被迫注意，而是誠懇的邀請，不躁進、過度，也不訴諸故事性的聯想或者議題性的帶動，純粹的觀看，「誠懇」停留於形體的穩定、細膩的線條、色層的溫潤…，終究不是現代社會（終日上演）的奇觀，無非就是單純所繪之物，甚至就是普通日常生活的一個（局部）畫面，或像是偶然出現的平凡物件等等。但是，它們身上卻隱藏著重新打開眼睛的潛能。

如果要更具體地來形容，那麼可以說陳孟澤的作品有一種「光」。以「內化的靈光」一展為例，無論是玉米、陸龜、蘭花、桂花樹、樹林、被網袋所包覆的洋蔥，甚至是延伸到戶外的風景，或者是陰暗的海浪場景，均被這種光所包覆。讓我們不禁懷疑，畫家陳孟澤會不會根本就不是在描繪「物」，而是在捕捉「光」呢？

近代藝術上關於對光的追求，一般來說大多會注意到十九世紀中末期印象派（Impressionism）以來所推動的自然光感，即一種利用強烈的、高彩度的顏料與（暗處）補色的科學色彩觀念，反映出自然光在人類視網膜所造成的感官經驗；但相反的，陳孟澤作品中的光並非如此，而是較為協調、和諧、平均分配，甚至與整個場景相連通的光。相較於印象派短暫變化的自然現象的現代光，陳孟澤則傾向持存不滅的古典光；換句話說，如果陳孟澤的繪畫捕捉一種光，那麼這個光並不是來自外在的，不是自然界，也不是單純連結眼睛感知或身體經驗的光，而是來自憑藉混合技法、材料維度所烘托出來的內在的，具穿透性的光。

這樣的光帶來一種時間的持續流動，甚至是聲音，以至於觀看他的作品時，往往會自然地被引入到畫面之中，進入靜謐而穩定的時間流。

時間的條件引領著光的到來，這不單純是對題材的凝視與掌握，也是材料與方法上的層層斟酌，從畫布為始，現成麻畫布或畫家自製的混合碳酸鈣的木板棉布底材畫布，前者麻布編織所透出粗糙紋理的樸素感，後者則在反覆打磨之後，更適合彰顯極為細膩的質感。其次，陳孟澤擅於掌握油彩與蛋彩不同的特性，隨著畫面的需求交相混合使用，顏料色層的積累，同時也將時間融入其中，每一次的線條聚合所掌握的形體，穿梭於油彩與蛋彩，一油一水之間顏料薄膜的虛實罩染（glazing）都不斷地靠近，讓時間在此封存、駐留，並變化成為顏料的一部分。簡言之，材料所延伸發展出來的繪畫技法，是召喚出光，接通萬物的奧秘。

因此，如果我們說陳孟澤不在描繪形象，而是捕捉光。那麼，光能否出現，其實從一開始的繪事準備工作就已經啟動了，後續的執行則是一種藝術意志的延伸，以及不斷趨近的過程；然而，另一個更根本的問題是，為什麼是光？為什麼不是其他標的呢？

顯然，這涉及到陳孟澤對藝術的理解與追求，一種對「真實」、「存在感」的詮釋，不過並不是專屬於人的存在，而是普遍共享的生命實在之感，物與景存在的立基點，或者說「內在絕對性」，故而在動物身上，在景物，甚至是一根小小的玉米都能體現，在此之際，光就是由內發出的呼吸，持續性的節奏與生命的溫度。凝視其作品，因此便是與其共在的時刻。

Viewers of Chen Meng-Tze's works are often drawn into the paintings, finding themselves calmed by the tranquility and delicate warmth emanating from them. It's like opening one's eyes for the first time to truly gaze upon the world, a simple and expectant experience. It's not a forceful attempt to grab attention, nor is it a forced display of interest; rather, it's a sincere invitation, neither hasty nor excessive, nor does it rely on narrative associations or thematic appeals. It's pure observation, the "sincerity" resting on the stability of form, the delicate lines, the warmth of color layers… Ultimately, it's not a spectacle of modern society (which unfolds daily), but simply the objects depicted, even a (partial) scene of ordinary daily life, or seemingly mundane objects appearing by chance. Yet, they possess the potential to reopen one's eyes.

To be more specific, one could say that Chen Meng-Tze's works possess a kind of "light." Take his exhibition "Internalized Aura" as an example: whether it's corn, tortoises, orchids, osmanthus trees, forests, onions wrapped in nets, or even landscapes extending outdoors, or dark scenes of ocean waves, all are enveloped in this light. This makes us wonder if the painter Chen Meng-Tze is not depicting "objects" at all, but rather capturing "light"?

The pursuit of light in modern art generally focuses on the perception of natural light promoted by Impressionism in the mid-to-late 19th century. This is a scientific color concept that utilizes intense, highly saturated pigments and complementary colors (in the dark) to reflect the sensory experience of natural light on the human retina. However, the light in Chen Meng-Tze's works is different. Instead, it is more coordinated, harmonious, evenly distributed, and evenly connected to the entire scene. Compared to the modern light of the Impressionists, which is a fleeting and natural phenomenon, Chen Meng-Tze prefers the enduring and eternal light of the classic. In other words, when Chen Meng-Tze's paintings capture a kind of light, it is not from the outside, not from nature, nor is it simply connected to visual perception or physical experience. Instead, it comes from an internal, penetrating light that is enhanced by the blending of techniques and the dimensionality of materials.

Such light brings a continuous flow of time, even sound, so that when viewing his works, one is often naturally drawn into the picture and into a tranquil and stable flow of time.

The conditions of time guide the arrival of light. This is not merely a matter of contemplating and mastering the subject matter, but also a meticulous consideration of materials and methods. Starting with the canvas, whether it's readily available linen or a canvas made by the artist using a mixture of calcium carbonate and wood-based cotton, the former offers a rustic feel through the rough texture of the linen weave, while the latter, after repeated polishing, is better suited to showcasing extremely delicate textures. Secondly, Chen Meng-Tze skillfully masters the different characteristics of oil paint and tempera, mixing them according to the needs of the painting. The accumulation of pigment layers also incorporates time. Each convergence of lines, the mastery of form, traverses between oil and tempera. The glazing of the paint film between oil and water constantly draws closer, allowing time to be sealed, preserved, and transformed into a part of the paint itself. In short, the painting techniques developed from materials are the secret to summoning light and connecting all things.

Therefore, if we say that Chen Meng-Tze sis not depicting images, but capturing light, then the very act of light appearing begins with the initial preparation for the painting. The subsequent execution is an extension of artistic will and a process of continuous approach. However, another more fundamental question is: why light? Why not something else?

Clearly, this relates to Chen Meng-Tze's understanding and pursuit of art—an interpretation of "truth" and "a sense of existence." However, this is not an existence exclusive to humans, but rather a universally shared sense of the reality of life, the foundation upon which objects and scenes exist, or rather, an "inner absoluteness." Therefore, this can be embodied in animals, in scenery, and even in a small ear of corn. At this moment, light is the breath emanating from within, a continuous rhythm and the warmth of life. Gazing at his works is therefore a moment of coexistence with them.

陳孟澤Meng Tze CHEN / 玉米4 Corn4 / 16 x 24 cm / 油彩蛋彩混合技法 Mixed Media (Oil and Egg Tempera) / 2019

陳孟澤Meng Tze CHEN / 綿羊 Sheep / 20 x 39 cm / 油彩蛋彩混合技法 Mixed Media (Oil and Egg Tempera) / 2025