This is the third time I work with Mr. Liu. He based in Taichung, and separate huge effects toward Taiwan art industry. He is the only Blue dye teacher I worked with. All three stages has their connections. I kept a trace in between works so I can develope it.
I use a huge blue in the frame, putting on a golden bar. It was developed on the second time worked together. This time I use it more aggressively. I spent a lot of time on this part because I wanted it to show the perfect effect.
I put ink in it afterward to strengthen the concept on Blue dye。
The idea golden spots is from the sunshine on it just like the spirit of the master when he is working. I think gold works just fine on it, and it shows a great texture. It is a method that I never used before.
In the back are words, and more micro textures. I slightly overlay them, like explaining. I use Lenny paper. It is not special kind of paper, but its texture is just like fibric. It works perfectly.
與劉俊卿老師這是第三次合作，劉老師的安染工坊位於台中，但是其創作所發散的影響力卻不僅於此，同時也是我唯一合作的藍染師傅，這三個階段的作品都帶有傳承的意味，我將每一次的特點留下，並且試圖不斷發展。
我用佔據視覺一大部分的深藍色塊，披掛在燙金的橫槓上，些微的形塑布料應有的飄逸，這是在第二次合作時，所開發出來的圖像，雖然在此沿用，但是因為應用場合的不同，造型的拿捏是更大膽了些，也花了最久的心思在這裡，因為我總希望是那麼一點點，不帶有張揚的，讓他出現該有的效果。
接著在裡頭混合水墨的元素，強化藍染的意象，過去是使用大膽出血的方式，這次則以自然揉合的方式呈現。
灑落的燙金斑點，靈感來自於染巾披掛於架上，陽光灑落的那一幕，也代表著藍染師父精神意念的揮灑，在整體色調比較深沈的佈局上，認為用燙金很適合，質感上也較為突出，這部份為過去沒有的嘗試。
背面則以文字排版為主，再垂掛更多微型的布料，並且讓布料稍作疊合，整體如補充說明的場景存在，紙材選擇與第一次合作相同的萊妮紙，雖然他並不是非常特殊的紙張，但因為他的紋理恰似於布紋，我認為應用在此設計中，恰如其分，未來也將持續應用這樣的紙張特性。
photo by Ben Chen
