訪客
影像技術的演進，滿足視覺的擬真感，久而久之也養成人的觀看習慣。透過攝影記錄影像，作為寫實繪畫的輔助，已經是當下相當普遍的方式，而透過鏡頭形成的影像細節或是失焦等效果，也逐漸成為一種對影像擬真感的判別標準。一張畫，似乎藉由模擬與強調影像的特性，可對觀者的眼光進行一種迅速的捕捉。 藝術家李吉祥以花窗玻璃做為一種模擬的鏡頭，透過花窗玻璃，背景被分散成色塊，象徵一種失焦的再造。花窗玻璃與背景的疊合呈現猶如失焦與聚焦的不合理重疊，觀者觀看花窗圖形與後方的光景的同時，是失焦眼花或者聚焦而眼中有花?我將這無聲幽微的過程，從鏡頭歸還到觀者的眼中來決定。
The evolution of imaging technology, to satisfaction the visual sense of verisimilitude, the passage of time has also become one of the determine standard. Through photographic record images as realistic painting of an auxiliary, is the common way to present, and image detail through the lens out of focus, or the formation of other effects, has become a kind of image a sense of realism practices. A painting, seems to emphasize the characteristic of analog image, can make a quick vision capture to the viewers. Lee Chi-Hsiang uses the reticulated tracery window pane as an analog camera, though the background out of focus, presented with superimposed focus unreasonable overlap become a symbol of reconstruction. I may remain faint silent the authoring process, left to the viewers to decide is it blurry or out of focus? Maybe just eyes grow with flowers.