Disembodied Posture  不存在的姿態

“Is there a deadline for death? Is death a moment or a period of time? If one already foresees the inevitable end in the march towards death, can this process be considered a part of death? As the corpse continues to change, is this changing process also a part of death?” These are the questions Yi-Ting Wang has perceived from a pine tree, as well as the bafflement she has constantly encountered as she imitates the pine tree’s rebirth and faces its continual perishing at the same time.

Disembodied Posture features a slowly dying pine tree that eventually meets its inevitable end. As the artist imitates the impossible growth of this dead pine tree, incorporating the interplay of light and shadow to create a “dessin-espace,” or spatial painting, she imagines the different life stages of the tree. The Mark, on the other hand, adopts a retrospective examination to trace how the pine tree looks in various moments in time, marking the trims on the pine tree. Using this method, the artist frees the tree from the ground and the limit of space and time, allowing the audience to the life of the tree in one moment. In this exhibition, the artist attempts to simultaneously present various dichotomous concepts, including life and death, extension or termination, growth or withering as well as existence and disappearance, as a way to explore the vast philosophical meaning of life.

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「死亡是否有期限？是一剎那，或一段時間？若趨向死亡的過程已預知死亡之必然，那過程是否為死亡的一部份？已然逝去的軀殼仍不斷地變化，那變化是否為死亡的一部分？」這是王怡婷向松樹拋出的提問，也是她不斷地模擬它的新生，卻同時得面對它不斷碎落逝去的困惑。

<不存在的姿態>選用緩慢枯萎最終死亡的松樹，模擬這棵枯松不可能的生長，與光影結合後形塑成空間繪畫的質感，藉此來想像其生命階段的各種姿態。<標記>透過時間回溯以及倒推的手法探討松樹的樣貌，標記所有被修剪的痕跡，透過標記的手法賦予松樹脫離地面的力量，將經年累月的痕跡合併為同一個當下被看見。王怡婷試圖將生命與死亡、延長或終止、生長或枯萎、存在與消失等相對立的觀念同時呈現，來探索廣義的生命哲學課題。