ART-MAKING

as a way of being in the world

郭心漪的創作，圍繞著一個持續被提出的問題：當世界不斷流動與變化，人如何在其中感知自身的存在？

她以「池塘」作為長期發展的核心意象，但這並非對自然景觀的再現，而是一種開放的感知場域。在水面之上，光影、倒影與漣漪彼此交織，形成一個不穩定卻持續生成的結構，使觀看不再只是視覺經驗，而是一種與時間、記憶與身體感知交錯的過程。

她的創作歷程，從早期對外在世界的描繪，逐步轉向對內在經驗的探問。這樣的轉變，也帶出一個更深層的提問：當我們觀看一個景象時，所看見的究竟是客觀的世界，還是已經被自身經驗所轉化的現實？

在畫面中，空間不再是固定的，而是處於流動與重組之中。色彩與結構逐漸鬆動，使圖像介於具象與抽象之間，開啟多重感知的可能。池塘因此不再是一個被觀看的對象，而是一個讓感知得以發生的場所。

她的作品並不指向明確的敘事，而是維持在一種開放的狀態——在這樣的狀態中，觀看成為一種經驗，而存在，則在觀看之中持續被生成。

Kuo Hsin-yi's practice revolves around an ongoing question:as the world remains in constant flux, how does one perceive one's own existence within it?

The "Pond" serves as her central and evolving motif—not as a representation of nature, but as an open field of perception. Across its surface, light, reflections, and ripples intertwine, forming an unstable yet continuously generative structure. In this space, viewing extends beyond a purely visual act, becoming an experience where time, memory, and embodied perception intersect.

Her artistic trajectory has gradually shifted from depicting the external world toward investigating inner experience. This transition raises a deeper question: when we look at a scene, are we perceiving an objective reality, or a world already shaped by our own experience?

Within her paintings, space is no longer fixed but remains in a state of flux and reconfiguration. Color and structure loosen, allowing the image to move between figuration and abstraction, opening up multiple modes of perception. The pond thus ceases to be an object of observation, and instead becomes a site where perception itself takes place.

Her works do not point toward a singular narrative; rather, they remain in an open state—where viewing becomes an experience,and existence is continuously formed through the act of perception.