攝影與繪畫無盡的關係：以安德魯‧格拉西的系列作品為例

The endless relationship between photography and painting: the example of Andrew Grassie's series

藝術家藉由繪畫紀錄眼前景色的再現能力，一直以來為人類提供另一種了解、描述與定義現實世界的方式。從透視法、暗箱與攝影於歷史脈絡中的轉變過程，捕捉現實景物的技術不斷地發展與創新，改變了藝術家描繪寫實再現的創作手段，以及影響了繪畫的動機與目的性。而其中，攝影與繪畫的交涉關係錯綜複雜，並且始終存在相互抗爭、融合與交織的變動狀態。本文將試著透過藝術家安德魯‧格拉西（Andrew Grassie）的蛋彩作品，以其三檔個展——〈新懸掛〉（New Hang）、〈製造〉（Fabrication）以及〈單幀〉（Still Frame）中的系列作品作為討論攝影與繪畫關係的不同切入點，檢視格拉西如何憑藉創作實踐來關注繪畫本質、藝術家身份以及藝術作品所蘊含的特定文化價值。並且分析其表現手法與作品的呈現方式，進一步討論繪畫如何運用攝影影像來重新詮釋圖像的可讀性，以及從中觀照出繪畫如何引導觀者反思「觀看」背後的視覺機制。

Artists' ability to record the present through painting has long provided humanity with alternative ways to understand, describe, and define the real world. From the historical evolution of perspective, the camera obscura, and photography, the continuous development and innovation of technologies for capturing real scenes have transformed artists' means of depicting realistic representations and influenced the motivations and purposes of painting. The relationship between photography and painting is complex, constantly in a state of flux, characterized by conflict, fusion, and interweaving. This article will explore the relationship between photography and painting through the tempera works of artist Andrew Grassie, using his series of artworks from three solo exhibitions—''New Hang,'' ''Fabrication,'' and ''Still Frame''—as a different perspective for discussing the relationship between photography and painting. It will examine how Grassie, through his creative practice, focuses on the essence of painting, the artist's identity, and the specific cultural values inherent in his artworks. Furthermore, it will analyze his expressive techniques and the ways in which his works are presented, discussing how painting uses photographic images to reinterpret the readability of images, and how painting guides viewers to reflect on the visual mechanisms behind ''seeing.''