回首凝視一格格的光流格影，影像因光而留下，又因光，再被看見。
一格格的連續播放，究竟留住什麼？
但願這些曾經發亮的世界，再度共聚一堂，訴說，在每格早已不止24格的世界裡。
在此，容我們先專注於一種想像：透過光，事物的形象得以反射，最終抵達腦部，記錄成為記憶。透過鏡頭顯影，由被攝人、事、物，引發觀者展開內在空間的探險。視覺畫面在日常生活空間中，延展進入特殊型構，乃至富涵表演性的舞台空間中流轉，甚至變形，你探詢的眼光更加縝密、充滿了細節，廣納於此、形形色色的新的空間，追溯其原型，來自內在的浩瀚空間。
巴舍拉（Gaston Bachelard）在《空間詩學》中談到：「浩瀚感就在我們自身體內。它與一種存有的擴張狀態緊密關聯，這種狀態總被生活所箝制，被謹小慎微所侷限，但是當我們孤獨一人時，它又再度復甦。一旦我們靜止不動，我們就身在他方，並且在一個浩瀚無垠的世界裡做著好夢。浩瀚感是靜止不動之人的運動；浩瀚感是靜謐白日夢所具有的動感特質之一。（p.280）」
回顧周東彥的創作歷程，不論是短片或結合劇場的影像、裝置作品，其實都不脫渴望呈現出一種具體而微、同時將極微變得極大的內在世界。企圖透過影像穿透有形的現實空間、劇場黑盒子，連結幽微且浩瀚的心理風景。
不同於其他數位藝術創作者多是來自美術或電影背景，周東彥以劇場做起始點再踏上影像與跨界探索之路。或許正因如此，他作品中的Frame──有時是劇場的鏡框，有時是電影院裡的銀幕邊緣，有時是刻意在畫面中又放了更多窗格，也有些時候，是美術館中的分割螢幕──在在呈現出不同於裝置作品的視覺性，而又蘊含了相異於電影作品的敘事性。
「光流格影」以三大主題綜剖跨界創作者周東彥近十年來在劇場和影像結合的探索。囊括甫獲得世界劇場設計大展（World Stage Design 2013）大獎作品《空的記憶》之表演影像裝置，和三支多次入圍國際影展之實驗短片；並立體呈現於留學歸國後數件擔任戲劇／舞蹈／音樂會之劇場影像設計作品。
本展覽為周東彥首度創作個展，同時也是國內少見以表演藝術跨界影像創作為主題之展覽，期待由此為台灣近年數位表演藝術發展留下一個具體而微的切面。
Gazing back at the light flowing out of frames, images are retained and seen again because of the light. However, what does the stream of frames exactly retain? I wish that the worlds once shining gather together again and tell the story in the world where the number of frame streamed per second has been over 24.
Right here, let us first of all concentrate on the following imagination: the images of objects are illuminated by light. These images will be recorded as memory when they arrive at human brains. The images of people and objects are seen through camera lenses. They prompt the spectators to embark on the adventure in their immanence. The visual images in the space of daily life develop themselves into a special structure and flow or even vary on the stage of great performativity. Your vision of inquiry will be more meticulous and detail-catching. The immense inner space turns out to be the prototype of the diverse new spaces encompassed in the special structure.
In The Poetics of Space, Gaston Bachelard mentioned that “[i]mmensity is within ourselves. It is attached to a sort of expansion of being that life curbs and caution arrests, but which starts again when we are alone. As soon as we become motionless, we are elsewhere; we are dreaming in a world that is immense. Indeed, immensity is the movement of motionless man. It is one of the dynamic characteristics of quiet daydreaming.”
When we review Chou Tung-Yen’s experience of creation, we find that his works, whether they are short films, images combined with theaters, or installations, express his desire for demonstrating an inner world that is small but complete and simultaneously turns the minimum to the maximum. By utilizing images, Chou seeks to penetrate tangible spaces and theatrical black boxes in the real world, and thereby shapes subtle and immense psychological landscapes.
Unlike most digital artists whose backgrounds are in fine arts or film arts, Chou embarked on his exploration of images and interdisciplinary possibilities by treating theater as the point of departure. Perhaps his background distinguishes his works from those of others. The frames alternately appearing in this exhibition include mirror frames of a theater, the screen frame of a movie theater, many deliberately arranged window frames, and segmented scenes of a museum. Accordingly, this exhibition presents the visual effect different from that of installations and contains the narrativity different from that of movies.
The exhibition “Lights Flowing Out of Frames” demonstrates the results of Chou’s exploration of combining theater with image over the last decade in three genres of his works, including the video installation《Emptied Memories》that won the top prize in Interactive and New Media Design at the World Stage Design2013, three experimental short films nominated many times by international film festivals, and several pieces of image design on theater, dance, and concert that he participated after he finished his study abroad.
This is Chou Tung-Yen’s first solo exhibition. It is also a domestically rarely seen exhibition that adopts interdisciplinary image creation of performing art as the theme. We expect this exhibition to create a small but complete dimension for the recent development of multimedia theater in Taiwan.
