僵局 impasse (#6.a)
 

When the Eleatics denied motion, Diogenes, as everyone knows, came forward as an opponent. He literally did come forward, because he did not say a word but merely paced back and forth a few times, thereby assuming that he had sufficiently refuted them. When I was occupied for some time, at least on occasion, with the question of repetition - whether or not it is possible, what importance it has, whether something gains or loses in being importance in being repeated - I suddenly had the thought: You can, after all, take a trip to Berlin; you have been there once before, and now you can prove to yourself whether a repetition is possible and what importance it has. At home I had been practically immobilized by this question. …
- Constation Constantius (S?ren Kierkegaard), Repetition, Part One.

 
藝評家杜福(Thierry du Duve)說過：“A good critic sends you back to paintings.”【七巧文本：框架展場】不敢奢望大家因為看畢這個展場後，會再行上一層重看一次呂振光的繪畫展場(不過有否這個展場，呂振光的畫都值得我們再三細看)，幸而呂振光給這展場預留了兩幅相當特別的作品。於是我們或者可以稍稍把杜福的話改寫成為一個新版本：“A good painter sends you his paintings.”

放置在這個展場中心的平台上的，是呂振光留學倫敦時候一幅實驗畫作產生時候樣子的一次還原。所謂還原，是基於它先是由六塊畫面組合而成立體，瀉倒了油彩過後，它便被拆解，以近似平面圖的形式展出(參看附圖)。此幅作品《三次元繪畫(一)》，正是繪於呂振光繪畫生涯中最近一次畫面風格大轉變的跳躍時刻，再次以當時的模樣組合，放置在這展覽狹窄展場轉折位置的路中央，它暗喻了兩重意思讓觀者去體味，一是它作為畫家當時所面臨到堵塞在創作道路中的一個阻礙難題(writer block)；以及從另一方向回看，它的意義是克服創作障礙的里程碑(milestone)。呂振光借出的第二件畫作，題名《三次元繪畫(二)》，有幸有不幸，被拆解了放置在展場兩端地上。全幅畫作本由四幅畫件組成(參圖)，這裡因場地關係，只展出了原作作品中的其中兩幀，然而經和畫家商議後，配合鏡面，略試重建原貌。雖然這種重見「圓貌」的方式，固然偏離原貌，但作為一種詮釋解讀，亦未嘗不可，尤其它的鏡影複現模式，更可以視作一種畫家站在畫幅中央機械旋轉執行作品的邏輯延伸和強化的解讀。

因此兩件作品，前者講究淋漓、渾沌擴散，後者則講究圓周規律、天籟(可堪比較的是Simone de Beauvoir看到畫家Alberto Giacometti的“centrifugal effect of space”，Jean-Paul Sartre則看到Giacometti的“each line as a centripetal force”)，但它們都有共同的實驗意味，那就是藝術家在積極尋找一種如何能減少個人表現性筆觸的繪畫途徑，一種「代筆」。本來畫面上僅腕部動作而發揮表現性(據講因現實裡並不存在)的線條，在呂振光被鎖緊的手腕筆下卻又重回自然的範疇。讓個人既能真的置身在畫中央，而又同時退隱出畫面(阿里士多德(Aristotle)留給神的宇宙閒角？)當然這是繪畫現代挑戰的另一種演繹。杜象(Marcel Duchamp)說過：“I was already disgusted with my hands. I just wanted things to get to the surface on the canvas by themselves, from my subconscious if possible.”。但結果，杜象對繪畫的里程碑意義，更像是小津安二郎那只刻上一個「無」字的黑色方形墓石。面對人生、藝術的impasse，克服虛無的方法總是一個，「將懸置實踐為偶在演化的模態式」(張志揚語)。