席恩・森尼斯：無意識形成物

菲律賓新銳藝術家- 席康・森尼斯描繪⾺尼拉，他忠於現實、以超寫實的技法將⾺尼拉都市樣貌淋漓盡致地呈現於畫布之上。

雖是寫實，他卻以謹慎的構圖、對單⾊的精確掌控調和出恰如其分的對比和平衡。繁雜交錯的電線、密佈貧⺠區的鐵⽪屋頂、懸掛窗外的衣服、⾓落堆棄的垃圾，森尼斯將我們視為紛亂骯髒⽽試圖忽視的現代都市現象誠然紀錄，畫⾯卻在其內容上的喧鬧之餘流露出乎意料的平靜坦然、甚⽽具有美感。賽博龐克（cyberpunk）科幻所描繪的極端貧富差距，在軟硬體設施均難以負荷急遽都市化和⼈⼝⼤幅成⻑的⾺尼拉和其他眾多亞洲都市，已然成為現狀。森尼斯正是讓觀者凝視此等現狀，彷彿置⾝他⼈之⽇常。

The Filipino emerging artist Ciron Señeres paints Manila. He is faithful to the reality and presents metro Manila on his canvas with photorealistic style. Thoulgh his paintings are based on reality, his rigorous composition and precise control of monochrome color make the paintings harmony with appropriate contrast. Wires, iron roofs overlying the slums, clothes hanging outside windows, stacked garbage in the corner, Señeres honestly records phenomenon of modern urban that we neglect and regard as messy and dirty. However, those noisy contents seem calm and even aesthetic in Señeres’s paintings. The extreme gap between the rich and the poor in cyberpunk sci-fi has become true in Manila and many other Asian cities where hard and soft facilities are overloaded under rapid urbanization and dramatic population growth. Señeres’s paintings make viewers stare at such the current situation as if they are in the daily life of others.

。Concrete sheet, metal ground |混凝土版，金屬地板，2019，油彩於畫布 | Oil on canvas 160 x 100 cm | 63.0 x 39.4 inches

。Freedom | 自由，2019，油彩於畫布 | Oil on canvas 152 x 152 cm | 59.8 x 59.8 inches

森尼斯將這般現象畫得如同⽇常⽣活中的⼀瞥，或是倚靠在貧⺠窟鐵⽪屋牆邊靜靜凝望周遭的居⺠視野。然當我們決定以某種⼈類學視⾓觀看，他的畫以⼤量重複、且延伸⾄畫⾯之外的廢棄物圖像表達了⽣產複製與相應的過剩意象。重複的咖啡杯、重複的保麗龍便當盒、重複的⿊⾊垃圾袋、重複⽽⼀望無際的鐵⽪屋頂、重複的⽊製牆板、重複的塑膠⽔管，重複⽽無意義的噴漆塗鴉和商品標⽰文字；⽣產線上整⿑劃⼀的產出、商品架上標著價格的重複物件，在歷經都市⼈的⼀⼿使⽤後，終⽽棄置於⾺尼拉貧困的⾓落並成為下層居⺠的所有物。過剩與稀缺，財富與死亡，同時顯現於無盡的垃圾堆中。

The scenes within Señeres’s painting can be seen as taking a glimpse into daily life, or a perspective of residents, standing besides the wall of the slums staring at the surrounding soundlessly. However, when Señeres somewhat decides to look from an anthropological perspective, his paintings implicate the imaginary of excess reproduction with large amount of repetitive and the images of waste which extends beyond the painting. Repeated coffee cups, repeated Styrofoam lunch box, repeated black garbage bags, repeated tin roofs which seem endless, repeated wooden wall panels, repetitive plastic water pipes, repeated and meaningless graffiti and commercial logos; the united output from the assembly line, the repetitive goods which mark with price on the shelf, all of these end up being left at the corner of the slums of Manila, and turn out to be the property of the disadvantages. Excess and scarcity, wealth and death, appear simultaneously in the endless garbage dump.

。Unintentional Forming Objects No.10｜無意識形成物十號，2019，油彩於畫布｜Oil on canvas 45 x 45 cm | 17.7 x 17.7 inches

。Obstruction No.1｜障礙物一號，2019，油彩於畫布｜Oil on canvas 83 x 106 cm | 32.7 x 41.7 inches

。Wood Stuck No.1｜木封條一號，2019，油彩於畫布｜Oil on canvas 180 x 145 cm | 70.9 x 57.1 inches

試想此等景象以同樣屬於機械複製時代產物的照相技術表達，聚焦於都會貧⺠窟的攝影作品將是某種社會紀實、⽽將現實世界的⼀切骯髒醜陋鉅細靡遺地複製於相紙之上。以油彩於畫布上對現實的模擬則去除攝影圖像背後所暗指的可複製性，對貧⺠窟的描繪因⽽躍升成彷彿具有靈光、若即若離的「此時此刻」。有趣的是，這等獨⼀無⼆的「靈光」正是在描繪機械複製⽣產線下過剩的醜惡產物。因此，他的畫作與其說是模擬醜惡，不如說是⼀種對醜與混亂略帶諷刺的美感式歌頌。

Imagine that these scenes are presented by photographic techniques which are also products from the age of mechanical reproduction, and the photography created under this technique which focuses on the urban slums will then be a kind of social documentary, revealing all the dirty and ugly aspects of the reality. Through mimicking the reality through oil on canvas, the artist removes all the implication that points to the possibility of repetition behind the photography. The depiction of the slum suddenly sublimes with aura, and the faraway moment that seems close. Interestingly, the unique “Aura” is exactly the excess output under the mechanical reproductive assembly line. Therefore, his paintings are not so much a simulation of ugliness as a kind of aesthetic compliment with a slight irony of ugliness and chaos.