藝術家工作之所以有趣，在於他們的發言出於喜好、興趣，或僅為自己發言，而非為了「麥克風」背後所代表的權威，如此任性的發言，就像「業餘人士」那樣單純為了興趣而努力。愛德華薩依德在「知識份子論」(Representations of the Intellectual)中所提到的「業餘性」(amateurism)裡談到，如果專業者使用專業的言論，藉此限定閱聽群眾，進而獲取利、權；那麼業餘者的發言就是為了興趣、開心、甚至是某種道德感，他們為此捨棄利益與權力，丟棄「專業」之名，換上業餘的皮。
遊於薄膜上的業餘者
這麼做會讓藝術家處在一個饒富興味的狀態，我稱為「薄膜」。之所以薄，單純就是這麼做的人，是社會中的少數。例如：細胞有著一層薄膜，那層膜與其內層，是細胞的一部份；然而那層膜與外層的世界，則是身體的一部份。因此膜同時屬於細胞與身體；是細胞的最外層，亦是身體最接近細胞的最裡層。
黃柏勳的創作歷程無疑是那層流動不已，卻從未進入細胞核亦未曾離開的細胞膜。他使用著專業技巧與手法，將其旁觀的冷靜眼神所見，繪製出來。《既豐富又寂寞》、《微笑爆炸》乃至《浮世慶典》，他都以這種「薄膜」的姿態觀察現世，並進行創作表現。
從浮世慶典到巴別森林
黃柏勳不斷思索著「究竟要讓創作帶著自己到什麼地方去，或者自己想要透過創作而留下什麼？」的心念，透過作品轉譯思緒。因此，解讀作品是種再創作，延續了作品與展覽的生命。在《唯偏執者得以倖存》完成時，他聲稱：「浮世慶典至此，我已無話可說」，宣示著「慶典」已經結束，而豐富美麗的世界仍生生不息。
《巴別森林》以一個巨大，豐富且寂靜的特殊視野，處理當代多元社會中那愈見歧異的各種發聲狀態，它延續聖經「巴別塔」的概念，當語言被上帝變亂後，人類因多元文化的差異締造了豐富的世界。
豐富且寂寞
黃柏勳不斷搬遷、變動和熱情投入的生活狀態無疑是豐富且寂寞的，他總是希望藉由作品帶給這個世界一些些溫暖和希望，在這個人際之間總是相互疏離又渴望擁抱的當代社會裡，黃柏勳的作品，給了我們一份振奮精神的微光。
He,
Who Sings Amateur Songs with a Professional Microphone.
the intriguing part of
being artists is they speak for their own interests, hobbies, or merely their
own, instead of the “authority” behind the microphone. Their speeches are as innocent
as amateurs’ motivation to their interests. The “amateurism” mentioned in the “Representations
of the Intellectuals” by Edward Said means the amateurs only speak for fun, happiness
or even sort of morality if the professionals speak for the profit and
authority. That is why real artists discarded money, power, and the titles of professionals,
and then became amateurs.
The
Amateur in the membrane
By doing so, artists are
in an intriguing status. I called it “membrane”. It’s a metaphor between thin,
and the few number of people who would have done this. There is a membrane to differentiate
the outside world and the inside world, which I called it “cell”. The inside
and the membrane itself are the part of a cell. However the membrane and the
outside world are part of body. Therefore, the membrane belongs to body and
cell at the same time. It is the outer surface of a cell, and the one of the
body closest to the cell. Just like the amateurs, they are not only the part of
the mass in the society, but the part who can speak, and speak real.
Huang, Po-Hsun’s
artistic context is definitely the membrane which never left the cell but also
be closest to a cell. He has been using professional techniques to draw out the
surroundings under his observation. From the series “And Rich and Lonely”, “Overflow
with a Laughter” to “Ukiyo Carnival”, he has been observing this world at the
position of the membrane.
From
“Ukiyo Carnival” to “Babel Forest”
Huang, Po-Hsun has been keeping thinking “Where
would my pieces lead me, or what would be left after my works?”, and
translating this mind into real works. Therefore, to read his works is a kind
of re-creation. It continues the life of works and extends the existing time of
exhibitions. At the time the work “Only the Paranoid Survives” was finished, he
declared “I have nothing to say about Ukiyo Carnival” to imply the carnival was
over. However, this abundant beautiful world shall continue.
The series “Babel
Forest” represents the differences of multi-culture in this contemporary world
in a gigantic, abundant, and a tranquil way. This series continues the idea of “Babel
Tower” – After God interrupted the language system, the world of human being
become much more various than before.
And
Rich and Lonely
Huang, Po-Hsun has been keeping migrating. His passionate
life is no doubt rich and lonely. He always wants to bring this world some warm
and hope. His art works give us a beam of an enlightening glim in this isolated
contemporary society.
