Introduction

葉哲瑀的繪畫創作實踐圍繞在當代廣告影像的視覺經驗，由其是那些帶有時尚和異國情調的廣告。他在研究所階段的創作主軸為「假 · 仙 · 境」。其中的「假仙」一詞來自於閩南語，有虛偽造作之意。「境」則是帶有空間範疇的含義。

 

這個命題有兩個層面的考量，第一層面是在創作主題上，當中涉及當代視覺文化的廣告面向，並且在研究過程中發現廣告有一種「假仙」的特質。第二層面是用「境」一詞指涉觀看廣告的螢幕表面，以及繪畫基底材的表面。這兩者皆為二維的平面空間，因此以這個字彙來涵括作為觀看途徑與繪畫實踐的平面場域。

 

YEh Che-Yu’s painting practice centers on the visual experiences shaped by contemporary advertising imagery, particularly those characterized by fashion and exoticism. During his graduate studies, his core creative theme has been "Pseudo-Trance-Scape" (Ká-Sian-Jìng).The term "Ká-Sian" (假仙) is derived from Hokkien, originally meaning hypocritical or affected. "Jìng" (境) denotes a realm, domain, or spatial category. 

 

This proposition encompasses two layers of consideration:

First, on the thematic level, it addresses the advertising aspect of contemporary visual culture. Through his research, Yeh identifies a "performative" or "affected" quality inherent in advertisements. Second, the term "Jìng" refers to the physical and conceptual surfaces involved—both the screen surface where advertisements are consumed and the substrate of the painting itself. Since both are two-dimensional planes, this term is used to encapsulate the flat field that serves as both a gateway for viewing and a site for painting practice.