Chia-En Jao 饒加恩 - « ICI » - Chia-En Jao Solo Exhibition

嘉義美術館展覽現場照

Installation View @Chiayi Art Museum

« ICI » 展覽可被視為一份圖像製造的說明書。從「得利塗料」的色票和命名的線索開始，回溯至帝國主義海權時期的商業支撐架構，延伸到二十世紀初與1920年代的完形理論與墨漬測驗，探討圖像在腦海中形成的機制。儘管羅夏克墨漬測驗並未完成其統計學上的建置，但它揭示了圖像在大腦中生成與個體文化經驗之間的心理關係。

進入展覽空間後，觀眾將看見由四盞投影燈構建的敘事場景。從展覽概念介紹，到對展出內容的圖像生產，皆源自帝國化學工業（得利塗料的前身）的企業識別標誌，就如物種繁衍的結構關係，墨漬測驗的圖像在此脫離了羅夏克測試的精神分析的使用範疇，除了讓觀者意識到自己對於牆上的圖像想像外，也連結到一本色票的建構與帝國化學工業經濟史的關係。

The ICI exhibition can be regarded as a manual for image production. Beginning with the color swatches and naming treads of "Dulux Paints," it traces back to the commercial frameworks underpinning maritime empires during the age of imperialism, extending to early 20th-century Gestalt theory and the 1920s inkblot tests, exploring the mechanisms through which images form in our mind. Although the Rorschach inkblot test never completed its statistical database, it reveals the psychological relationship between the generation of images in the brain and individual cultural experiences.

Upon entering the exhibition space, visitors will encounter a narrative scene constructed with four projection lamps. From the conceptual introduction of the exhibition to the production of the exhibited images, all elements are derived from the corporate identity of Imperial Chemical Industries (the predecessor of Dulux Paints). Like the structural relationship of species propagation, the inkblot images in this context depart from the psychoanalytic framework of the Rorschach test. In addition to prompting viewers to reflect on their imagination of the images on the wall, the exhibition also connects the construction of a color swatch book to the economic history of Imperial Chemical Industries.