当然，许多制作行动的展开，都是从一个单一地点展开，靠山傍海、都市或是田野，而观看的自由从未站在这种经验的对立面，而是相反的，它能作为一种折射的媒介，对曾经的现实给出更多细节，或者，在工作室里的我想着，以此时此地的感知作为材料，在未来生成出本将错过的复数的真实。

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注释：

[1]Opticks: Or, A Treatise of the Reflections, Refractions, Inflections and Colours of Light, 1704

[2]Munsell color samples are provided by the Munsell Color Company. A set of color samples consists of 329 chips. This set of color chips includes '320 color chips of forty equally spaced hues and eight degrees of brightness, all at maximum saturation, and nine chips of neutral hue' Brent Berlin and Paul Kay, Basic Color Terms: Their Universality and Evolution,1969, p. 5.

[3]'The world was so recent that many things lacked names, and in order to indicate them it was necessary to point.' Gabriel García Márquez, One Hundred Years of Solitude, 1967

[4]Kassia St Clair, The Secret lives of colour, 2016, p. 71.

[5]Handbook of young artists and amateurs in oil paintings, 1849, p.106.

[6]T.N. Mukharji, ‘Piuri or indian yellow’ in Journal of the society for arts, vol 32, No. 1618. p.16.

[7]William Ewart Gladstone, Studies on Homer and the Homeric Age, 1858.

[8]‘The use of the same word to denote not only different hues or tints of the same colour, but colour which, according to us, are essentially different.’ Guy Deutscher, Through the Language Glass, 2010, p. 32.

[9]Cathy Park Hong, Minor feelings: An Asian American Reckoning, 2020.

[10]‘Ever since I started writing, I was not just interested in telling my story but also in finding a form—a way of speech—that decentered whiteness.’

[11]‘明星の明くる朝 （金星升起的翌日清晨）’，《万叶集》，7世纪到8世纪末

[12]‘白妙の白き月をも紅の色をもなどかあかしといふらむ（洁白明月与红花色彩皆可谓明亮红艳）’，《拾遗集》，1007年

[13]Brent Berlin and Paul Kay, Basic Color Terms: Their Universality and Evolution, 1969.

[14]Stephen C. Levinson, Yeli Dnye and the Theory of Basic Color Terms in Journal of Linguistic Anthropology, 2001, p.17.

[15]清水茂，《清水茂汉学集》，2003，p.433。

[16]David B. Schorr, Art and the History of Environmental Law, p. 324.

[17]Impact of relative humidity on visibility degradation during a haze event: A case study, 2016

[18]Visibility estimates from atmospheric and radiometric variables using artificial neural networks, Gabriel Lopex, Juan Luis Bosch, Inmaculada Pulido-Calvo, Christian A. Gueymard, 2017

关于艺术家

苏予昕，1991年生于花莲。2016年毕业于英国伦敦大学斯莱德美术学院研究所，目前创作于台北，上海之间。