光暈浮潛
藝術家鄭農軒透過古典繪畫在藝術史各時期中豎立的敘事方法與造型模式，加以拼湊、模擬、重塑，來尋找台灣因為歷史時空等因素，在接受西方藝術文明的間接途徑中，所產生的落差與不連續狀態。《光暈浮潛》一個抽象的發光環，漂浮在似土又似水的平面上，不規則的形狀彷彿不斷的在改變，可以藉指世間萬物的多元，也可以藉指人們內心的變幻，緩慢的、靜靜的泛著微光。
CHENG Nung-Hsuan is creating a new exploration of abstraction and expressive portraiture. To comprehend the reason for him to focus on the chasm between Western Art and the “Western painting” under Japanese’ understanding, one must be aware that the development of Arts in Taiwan has historically been influenced by Japan. Around the middle years of the colonial period, Taiwanese artists had been unavoidably influenced by Western art, notably French Impressionism, as Japan followed their example in its drive for modernization. In 《Halo light》 we could see a luminous curvy circle, shinning quietly in the center of painting, like an amorphous world, or even the spirit of mankind.
