苑裡十一月秋末的大風翻騰著金黃稻浪，像是在進入光照時數開始減少的冬季之前，起舞紀念台灣這一年的經歷。
金枝藝術的策劃展「那光」為這一年提供了一個空格、一個休止，邀請人們在作品前面或是在作品裡面，用呼吸、用靈通、用身體的移動去感知光的存在，邀請人們除了娛樂之外，還能在光的存在裡專心，在專心裡重新得力。
李俊陽以水墨和燈管在黑盒子裡舖置了彷彿有儀典的空間。黑光水墨吸納了足夠的光，一旦空間充滿了黑暗，甫在光裡所等待的以及所醞釀的便會開始绽放鮮彩繁花。那花的鮮豔色彩不屬於日光也不屬於黑暗，它們存在於一個必須透過真誠才得召喚出來的隱匿世界。
李俊陽以水墨和燈管在黑盒子裡舖置了彷彿有儀典的空間。黑光水墨吸納了足夠的光，一旦空間充滿了黑暗，甫在光裡所等待的以及所醞釀的便會開始绽放鮮彩繁花。那花的鮮豔色彩不屬於日光也不屬於黑暗，它們存在於一個必須透過真誠才得召喚出來的隱匿世界。
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每個閃爍的光點都是神諭。李艾晨在鋁板上滑移的油墨，似乎呢喃著對上帝的敬畏，似乎也看見了她試圖在不斷來回的刷擠中，去交會裂天而降的神的光芒。
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黃亞紀在日常物件裡藏匿詭譎的光，好像在一切靜止的平凡中無端騷動著什麼。看起來既是無聲的，卻又私語著什麼；看起來是無人存在的，卻又暗示著某種在場；看起來是靜止的，卻又不那麼地安靜。
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過多的延長使得時間感消逝了，還剩下什麼……。林冠名始終保持著一種冷調的詩性，不陳述什麼，不解釋什麼，用一種古典的質感讓冰冷的機械影像累積、溫存觀者的溫度，用不經意的速度。
每個閃爍的光點都是神諭。李艾晨在鋁板上滑移的油墨，似乎呢喃著對上帝的敬畏，似乎也看見了她試圖在不斷來回的刷擠中，去交會裂天而降的神的光芒。
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黃亞紀在日常物件裡藏匿詭譎的光，好像在一切靜止的平凡中無端騷動著什麼。看起來既是無聲的，卻又私語著什麼；看起來是無人存在的，卻又暗示著某種在場；看起來是靜止的，卻又不那麼地安靜。
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過多的延長使得時間感消逝了，還剩下什麼……。林冠名始終保持著一種冷調的詩性，不陳述什麼，不解釋什麼，用一種古典的質感讓冰冷的機械影像累積、溫存觀者的溫度，用不經意的速度。
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光，在姚仲涵的手中不斷地被具體化。所以光可以有速度，光可以有節奏，光可以在人的移動裡被控制它的反應，光也可以透過聲音讓你聽見它自己。
光，在姚仲涵的手中不斷地被具體化。所以光可以有速度，光可以有節奏，光可以在人的移動裡被控制它的反應，光也可以透過聲音讓你聽見它自己。
In the late autumn this year, Jin-Zhi Gallery is going to submit a dimension to project the whole year review.
The third exhibition “Blink” invites people to interact with multiple media art works. We introduce you to experience the being of light itself by your breath, your body movement and your spirit. It is not only for your entertainment, but also for your concentration with light.
Jiun-Yang Li uses black light and growing in the dark ink to draw enough illumination in order to summoning the invisible mysterious world.
The third exhibition “Blink” invites people to interact with multiple media art works. We introduce you to experience the being of light itself by your breath, your body movement and your spirit. It is not only for your entertainment, but also for your concentration with light.
Jiun-Yang Li uses black light and growing in the dark ink to draw enough illumination in order to summoning the invisible mysterious world.
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Ai-Chen Lee brushes the oil paint on the aluminum plate. The brilliance from her aluminum canvas seems to encounter the light from the god.
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It seems silent and static but it whispers something; it looks like nobody’s place, but implies a presence. Ya-Chi Huang’s photography speaks a strange and hidden light from everyday objects.
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What left when the time goes by… Guan-Ming Lin always keeps a poetical tone to his work. Using a kind of classical texture to apply on the cold digital image and it attracts the audience’s participation gradually.
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Light becomes a concrete thing from Chung-Han Yao’s installation. Thus we can see its reaction from our movements; we can hear light itself through the sound.
Ai-Chen Lee brushes the oil paint on the aluminum plate. The brilliance from her aluminum canvas seems to encounter the light from the god.
------------------------------------------------------
It seems silent and static but it whispers something; it looks like nobody’s place, but implies a presence. Ya-Chi Huang’s photography speaks a strange and hidden light from everyday objects.
-------------------------------------------------------------------------
What left when the time goes by… Guan-Ming Lin always keeps a poetical tone to his work. Using a kind of classical texture to apply on the cold digital image and it attracts the audience’s participation gradually.
--------------------------------------------------------------------------------------------
Light becomes a concrete thing from Chung-Han Yao’s installation. Thus we can see its reaction from our movements; we can hear light itself through the sound.
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