Tapestry: Tessar Lo Solo Exhibition

大河美術很榮幸舉辦 Tessar Lo 全新個展《TAPESTRY》。延續其 2023 年個展《tangere》對時間、記憶與感知的長期探索，本展再次回到那長久存於藝術家意識中的空間——在那裡，過去並未真正退去，未來亦不全然位於尚未抵達之處。繪畫成為不同時間彼此漂移、滲透與交疊的場域，並在觀看發生的當下，重新組構我們對現實的感知。

《TAPESTRY》中的繪畫皆始於「被描繪／被抽取出的記憶（drawn memory）」的概念。對 Tessar 而言，記憶從不是一幅等待被完整還原的圖像，而更接近一種流動且不斷變化的存在：它被喚起，也重新沉沒；彼此覆疊，並在每一次回望中悄然改變形狀。這些創作循著相似的邏輯展開，每個決定都建立在前一個結果上，同時為即興、偏離與遊移留下空間，使畫面在持續回應自身的過程中逐步成形。

展題「tapestry」在此開啟關於累積、連結與交疊的聯想，卻不將其固定為單一意象。Tessar 所關注的，是一種既清晰又遙遠的感知狀態——事物彷彿近在眼前，卻始終保有某種無法真正跨越的距離。每一幅作品如同一道開口，不同時間如經緯線般彼此穿行，使此刻與另一個時空短暫共存，也讓我們原先認定為穩固的「現實」開始鬆動與偏移。

記憶並不沿著單一路徑返回。那些曾經歷的事物、想像與渴望，甚至僅僅是被隱約感知的無名之物，都可能在其中重新靠近相遇。當這些碎片彼此滲透，一個難以被精確定位的詩意空間也隨之浮現。展覽並不試圖再現某個具體場所，而更像是一處讓記憶、欲望、觀看與時間短暫相遇的所在。在其中，重要的並非望見什麼，而是「此刻」如何與另一個時間接觸，以及感知如何在不同的時間與意識層次之間移動。

《TAPESTRY》所渴望的，或許正是這些存於流動縫隙裡的美好：熟悉與陌生之間細微的溫度變化，記憶與當下之間的距離，以及殘像與回憶之間若有似無的時差所交錯出的生命地圖。邀請觀眾進入一個流連於黃昏與夜晚之間的空間——

或許，我們只在其中短暫停留。

又或許，我們從未真正離開。

RIVER ART GALLERY is pleased to present TAPESTRY, a new solo exhibition by Tessar Lo. Continuing the artist’s ongoing exploration of time, memory, and perception from his 2023 exhibition tangere, TAPESTRY returns to a space that has long persisted within his consciousness—one in which the past has never fully receded, nor the future remained entirely somewhere ahead. Here, painting becomes a field where different times drift, seep into, and overlap with one another, quietly reshaping our sense of reality in the very act of looking.

The paintings in TAPESTRY begin with the notion of a “drawn memory.” For Lo, memory is never a fixed image waiting to be fully recovered, but something fluid and continually shifting: called forth, submerged again, layered over itself, and quietly altered with each return. His process unfolds through a similar logic. Each decision grows out of the one before it, while leaving room for improvisation, digression, and meandering. The paintings gradually take shape through an ongoing process of responding to what has already emerged.

This title opens onto ideas of accumulation, connection, and overlap without fixing them into a single image. Tessar is drawn to a state in which things can feel both distinct and distant—seemingly close at hand, yet retaining a distance that can never quite be crossed. TAPESTRY unfolds within this tension. Each painting becomes an opening, as different times pass through one another like warp and weft, allowing the present and another time to briefly coexist, while what we once understood as stable reality begins to loosen and shift.

Memory does not return along a single path. Things once lived, imagined, or longed for—even those that have only ever been faintly sensed and never named—may begin to draw close to one another again. Time, in turn, becomes something other than a linear measure: something capable of circling back, accumulating, and continually taking on new forms. As these fragments begin to seep into one another, an elusive, difficult-to-locate space slowly emerges within us. The exhibition does not attempt to represent a particular place, nor does it treat space simply as a container. Instead, it becomes somewhere memory, desire, looking, and time might briefly meet. What matters is not so much what is seen, but how the present comes into contact with another time, and how perception moves between different temporal and psychic registers.

What TAPESTRY reaches toward lies precisely within these shifting intervals: the subtle changes in temperature between the familiar and the strange, the distance between memory and the present, and the almost imperceptible delay between afterimage and recollection—together forming a map of a life that can never be held entirely still. The show invites us into a space lingering somewhere between dusk and night——

Perhaps we remain there only briefly.

Or perhaps we never truly left.