「雙鉤廓填」，取自古代書畫摹本的技法。「雙鉤」，用細勁墨線鉤勒字形輪廓，「廓填」，以墨填充其內。此一技法強調形式上的描繪與內涵上的填實，其本質即是「結構」與「內容」之間的共構關係。藝術家借用這一古典手法，不只是回應書法技藝的歷史脈絡，更透過此術語轉化為一種當代藝術創作的概念模型。這個模型意味著：對於當代社會各種表象的描摹（鉤勒），以及對其內部空洞、荒謬或重複問題的批判與填補（廓填），從而形成具有批判意識的藝術語言。本展旨在思考書法於當代的語彙與形式，探索其在生活脈絡中的流動與再生，並激發觀眾對「書寫」更開放且具想像力的體驗與認知。
This exhibition takes its title from a classical technique found in traditional Chinese painting and calligraphy. “Framing” refers to the outlining of character forms using fine, controlled ink lines, while “Filling” reveals the subsequent process of inking within the contours. This method emphasizes both the construction of external forms and filling of internal content while embodying a co-constructed relationship between structure and meaning. By adapting this historical technique, the artist not only engages with the lineage of calligraphy practice, but also reinterprets the term “Framing” and “Filling” as a conceptual model for contemporary art-making. This model implies a dual approach: the framing of contemporary social appearances, and the critical filling-in of the vacuums, absurdities, or recursive problems within. Through this, the work constructs a language of art grounded in critique and reflection. The exhibition considers the evolving form and meaning of calligraphy in contemporary practice. It investigates how calligraphy circulates and is reactivated within everyday contexts and invites viewers to engage with “writing” as an open-ended and imaginative act.
