堉泉以現代繪畫語言召喚古典藝術為人熟知，他寓水墨與油彩表現於一爐，筆觸動勢及獨特的技法使人印象深刻。「逐一」系列保留過往極富個性的色彩流動，非傳統的尺幅形式使作品更加惹人注目，長形與方形木板油畫排列於展場之中，凝縮成一道光彩。觀眾受邀隨著作品而移動步伐，特殊尺度與空間陳列的營造，不但改變觀眾過去看畫的知覺與慣例，也展現藝術家不斷的自我突破。

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        Yu Chuan, an accomplished artist at articulating the classical into contemporary artworks, mastering the amalgamation of water colour and acrylics.  One would not be able to miss the strong charisma and unique and powerful brush stoke techniques displayed by his artworks.  The series of “Stranding Moment” continues to exhibit characteristics of movement and colours. The irregular sizing of wooden blocks in itself is one eye catching feature. The arrangement of these rectangular and square blocks in the gallery transform into a ray of light. An invitation for the audience to pace along the exhibits which has been strategically displayed in both its space and its dimension, to bring about an unconventional approach to artwork appreciation.  This also demonstrates the artist’s continual strive for breakthrough. 

觀此「逐一」系列作品，其用色較以往呈現更大量的無色彩，黑白兩色在強烈對比及濃淡漸變之間，高彩度的純色流轉碰撞使得斑斕細節更微妙豔麗。過去有許多人說，在堉泉的作品令人看見大自然：天光雲影、水流石痕、岩漿迸發，這些風景實際隱含著相對的時間元素：萬變雲彩和山石美玉的成形，多以瞬間和千年來描述，這尚是用人生的尺度來衡量而言，如此可見最迅速和最漫長的單位被壓縮在方寸之間。「逐一」系列之特殊，首先在於藝術家在一百毫米寬的空間限制中挑戰無限，而正由於尺寸刻意的侷促，過去他慣用強烈的運筆動勢與符號營造必須棄絕，長幅畫面的構圖、用筆都與過去產生差異，令人驚奇的是，人為筆觸之控制逐漸被物理變化所代替，而使一種內在意涵緩緩升起。

        The “Standing Moment” series, compared to it’s predecessors, displays greater absence of colours.  The power of black and white contrasts versus gradual shadings of black and white, and vibrant colours gorgeously presented with such fine details.  Many has commented they see nature in Yu Chuan’s artworks, from dances of colours in the sky, to streaming water with markings on stones and moving lava, all encompassing a time factor.  Whether it be a fleeting moment of arrays in the sky to thousands of years for the formation of mountains and gems.  Compressing the time element into a limited space.  The uniqueness of “Stranding Moment” is a challenge for the artist to showcase the boundless in the limited space with a width of 100mm.  Due to such restraint, Yu Chuan must let go of his iconic powerful brush stroke technique.  In the confined and narrow space, the composition and techniques are vastly different from before. Surprisingly, when the change is slowly won over by this new chemistry, a new meaning gradually rises.

「逐一」所謂的內在性有兩個部分：首先，作品尺寸帶來了特殊的親密感。這二十件作品，其畫面長度各異、寬度相等而同排為列，拉近了與觀眾的距離。畫作延展環繞空間，使人們不由得趨前凝視畫面的細節與紋理，畫與人的關係就產生於近距離的凝思之中。這些較以往相對迷你的畫作，不但無法讓人由遠處縱觀來收整體之貌，反而更賦予一種觀看的選擇：人們可從左至右、或是以相反的順序來閱讀作品，觀眾無形中受到邀約，透過身體方向的改變來進行審美活動。堉泉創作中所具的實驗性，為觀看的慣例提出了疑問。

“Stranding Moment” is comprised of two elements.  Firstly, luring with intimacy is the unique dimension of the artwork.  In the twenty pieces of artwork displayed, each item possesses a different length but all with the same width, drawing the audience for a more up close experience.  The artwork circles the showroom, surrounded are the audience, drawn and fixated by the fine details presented, bonding between the artwork and the audience is created in this stranding moment.  Miniature in size compared to former pieces, disabling the audience to capture the composition from a distance.  Audience now have a different way of appreciation, whether they choose to start from the left to right, or from the opposite direction, a passive invitation to viewers, changing the way to view the beauty with the movement of their body. Yu Chuan’s experiment brings about an unconventional approach to the common practice.  

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其次，內在特質也隱藏於真實性的重新調配。西洋畫運用黃金比例景框和透視，操作出真實的幻象，油彩可以讓人不斷地重疊修改，長久以來打造了追求擬仿現實、以單一主體為中心的世界。「逐一」內在特質的第二部分，正來自於脫離擬仿現實的架構。由於堉泉以西方媒材試圖體現東方精神的嘗試，不僅透過描繪方法的革新來打破幻象，也由於某些源自《古畫品錄》的要點，例如「意境」的追求，力圖使全幅節奏不滯於個體刻畫，這種似真的品質不同於視網膜上的視覺要求，而是精神認識上的更新。換言之，雙重的內在性使得作品為自身揭開了另一種真實之中。

Secondly, an inner and hidden quality, is the rearrangement of perception.  Western artworks uses a golden ration for dimension to create a sense of physical reality.  Acrylics, a medium which allows the stacking of colours for formations.  An unending pursuit of resemblance to physical reality, with a single theme or object as the central focus. 

        The second element of “Stranding Moment” is to escape from the chase to resemble physical reality.  As Yu Chuan endeavours to promote the spirit of the East with Western mediums, a breakthrough with new interpretation.  From key points derived from the famous book titled “Classification of Ancient Painters”,  one aims to achieve artistic ambience to allow an artwork to overcome the limitation of focusing on the subject.  This concept is beyond mere deliverance of visual experience .  It is the next level of pursuit.  These two combined elements brings about a new form of reality.

「逐一」畫中強烈的視覺效果可與自然媲美，環狀節理與裂解的邊緣尤如栩栩的瑪瑙結晶，彷彿經過強烈壓縮而成，召喚著地質學的時間。地質年代就涉及太陽星雲形成物質的誕生，無盡漫長的年歲無法寸度，也非人手所能企及。膨脹、迸裂、攪擾、流動終於緩慢固涸的物理變化探索著時間的根源，卻被藝術家所具現，使得非具象畫作有如訴說宇宙，此外，提醒人們一個事實：植物或礦物顏料本來自古老的大地。畫料經過篩選、研磨、調配而改變過數種狀態，在藝術家的手中暫時活躍，又隨著顏料的停止變化而再度沈靜，它們不但是藝術家心裡激盪的回音，也是大地之力的具體顯現，其抽象的內容，帶來了宇宙生命的普遍思考。也因此可說，作品或許未有現實具象的內容，透過省察卻可指稱其中一種「非具象主題的具象性」。

“Stranding Moment” delivers a powerful visual presentation in each of its exhibit relatable to the beauty of mother nature. Circular formations resembling the crystallisation of Agate,  its creation as a result of immense pressurisation, with a calling for time and geology.  From geology to formation of matters from the birth of the sun and the moon.  The vastness of the timeline is such that it is incomprehensible. Through expansion, division and evolution, such beauty is captured by the artist, depicting the story of the universe.  One must be reminded, plants and mineral based paints are derived from mother earth.  Colours are carefully selected, ground, and formulated through various processes.  These colours come to live in the hands of the artist, and gradually comes to a still and settles once again, leaving an echo in the heart for the artists.  This is the power displayed by mother nature.  Perhaps abstract, yet when brought to a close proximity, one will identify the compelling subject presented by the fine details. 

藝術家作為世界的觀察者、視覺幻像的懷疑和繼承者，究竟在極端的時間感受之下追逐著什麼樣的風景？堉泉揉捏微型宇宙，讓觀眾透過隙罅來窺看。「逐一」的製作其實具有特殊性，除了過去使用的厚塗與油水分離法，似也處於西方古典與前衛運動的拉鋸之間嘗試自我定位。這一特殊之處可以用Decalcomania技法為代表，在此翻譯為「移畫印花法」，這種創造於英國的技法，簡言之也就是將厚顏料撒在畫布表面，在畫未乾時用其他材料覆蓋，再去除覆蓋層所得的圖案，它可成為繪畫繼續創作的基礎。 在20世紀初的超現實主義團體，該技術被許多藝術家採用為消除理性約束、解放概念、隨機發展畫面的方法。 這種打破傳統構圖的創作模式，使藝術家能在物理材料的互動中激盪出更趨於原初的、身體本能的結果。此次展出的作品中有10件方形的彩畫穿插於縱向的畫幅之間，使用了上述更為直覺的創作方式，產生出私密的內在書寫。

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Artists are the observers of the world, the enquirers of the illusory.  What do they see and sought after in this vast space and time?  Yu Chuan endeavours to recreate the universe he see in a minute scale, providing a glimpse to his audience.  The production of “Stranding Moment” is unique.  On top of the use of thick coating and water & oil separation technique, Yu Chuan also tries deviate and stray from the norm.  Liken to rise of the technique of Decalcomania. This technique was developed in England in which ink, paint or another mediums were spread onto a surface and while still the paint wet, when removed, transfers a pattern that may be further worked on.  In the early 20th Century, this technique was adopted by the Surrealists to create imagery by chance rather than through conscious control.  This unconventional deviation from traditional techniques allows artists to create interactively with other materials, surpassing the limits of precedent techniques.   

There are 10 square shaped items in this exhibition which are arranged amongst other vertically presented pieces, created with the above mentioned technique, an intuitive approach to the inner dialogue.

堉泉試圖解放自身技法的熟練，這次展出作品沒有使用任何刷具，將潛力投注於繪畫命題與自身處境。降低色彩量、限縮的尺幅，以及更直覺而富有物質觸感的表達，使得本身形狀先於主題而存在。「逐一」透過多樣的變革使藝術家的潛意識隱約浮現，減少藝術家之手的控制。他以時間、想像帶來的宇宙，表達了生命在時空中的永恆搏鬥。

In this series of creation, Yu Chuan abandoned his usual techniques and the use  of brushes.  Exerting all his effort in the deliverance of the chosen theme with the  given constraints.  Scaling down of colour tones, reduction in size of artwork, a more direct deliverance with a focus on tactility is achieved. 

“Stranded Moment” through its deviation from the conventional approach, guides the artist to reveal his inner dialogue.  Diminishing the need for conscious involvement.  Yu Chuan puts forth the battle encountered infinitely by all beings.