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Description
Taipei Stir Fry
by Gan Chin Lee
Oil on linen
48 x 72 inches（left and right panel）
96 x 72 cm (middle panel)
2012

‘我過去幾年的實踐都著重在分解完整的圖像成碎片以後，再以組合、並置的手法來再現第一觀看經驗，目的是為了強調主體的觀看活動，強化眼睛與對象的關係。於是，在這種連續的敘事裡，增加了時間維度，由彼副到此幅的觀看之間，有種微妙的共生存在，對我來說，它似乎更能寫實地表現在場的視覺經驗。另外，觀看總是有選擇性的，所以我在分解並凝固各個造型的時候，也適當地加減一些畫面元素，使之成為殘像，作為表現觀看經驗的剩餘，表達事件/感情/內容的遺存痕跡，並蘊含某種延伸性。總體而言，這種表達方式在圖像時代蓬勃以來，似乎更加契合現代視覺性的經驗。’

'Chin-Lee Gan's practice in recent years has laid emphasis on decomposing complete images into fragments and then reconstructed first-glance experiences by combining between subjective viewers and objects being viewed. Thus, in such a sequential narrative, the time dimension increases and in triptych view from one painting to another, segments of sequence editing and jump cutting subtly coexist. For Gan, this seems to more realistically present on-the-scene visual experiences. On the other hand, viewing is always optional so in decomposing and solidifying all kinds of models, appropriately adding and reducing a certain image elements makes afterimages that represent remnants of viewing experiences to express events, emotions, vestiges and to connote some possibility of extension. Most scenes in the paintings are commonly seen food stalls in the southeast Asia society. In this buffer zone between a hectic day and the way home, Gan captures their enduring sentimental attachment to this period of time and stagnant boredom in life.'

Description
Taipei Stir Fry
by Gan Chin Lee
Oil on linen
48 x 72 inches（left and right panel）
96 x 72 cm (middle panel)
2012

‘我過去幾年的實踐都著重在分解完整的圖像成碎片以後，再以組合、並置的手法來再現第一觀看經驗，目的是為了強調主體的觀看活動，強化眼睛與對象的關係。於是，在這種連續的敘事裡，增加了時間維度，由彼副到此幅的觀看之間，有種微妙的共生存在，對我來說，它似乎更能寫實地表現在場的視覺經驗。另外，觀看總是有選擇性的，所以我在分解並凝固各個造型的時候，也適當地加減一些畫面元素，使之成為殘像，作為表現觀看經驗的剩餘，表達事件/感情/內容的遺存痕跡，並蘊含某種延伸性。總體而言，這種表達方式在圖像時代蓬勃以來，似乎更加契合現代視覺性的經驗。’

'Chin-Lee Gan's practice in recent years has laid emphasis on decomposing complete images into fragments and then reconstructed first-glance experiences by combining between subjective viewers and objects being viewed. Thus, in such a sequential narrative, the time dimension increases and in triptych view from one painting to another, segments of sequence editing and jump cutting subtly coexist. For Gan, this seems to more realistically present on-the-scene visual experiences. On the other hand, viewing is always optional so in decomposing and solidifying all kinds of models, appropriately adding and reducing a certain image elements makes afterimages that represent remnants of viewing experiences to express events, emotions, vestiges and to connote some possibility of extension. Most scenes in the paintings are commonly seen food stalls in the southeast Asia society. In this buffer zone between a hectic day and the way home, Gan captures their enduring sentimental attachment to this period of time and stagnant boredom in life.'