王姿婷 ＜雜訊＞ 116.5×91.0cm555
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王姿婷 <感性思維> 233×182cm
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王姿婷 ＜祕密＞ 72×91cm
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王姿婷 ＜Thinking＞ 116.5×91cm ５５５
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王姿婷 70×70cm
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王姿婷 <大人的溫柔> 116.5×72.5 cm333555555444 以直覺性的繪畫方式引導作為我作畫的開始，不面對任何預設、任何實體的狀態下，作為我影像後盾的是一個龐雜浮動的資料庫，裡面所有的資料包含了主動和被迫性的接收，它們的來源斷裂的無法去追朔，所有的影像、文字、訊息最終是同一件事。心理和身理上的直覺是我繪畫的初步，之後外在的影像和資訊才開始介入，成為作品樣貌的最大影響因素。這些浮動、破碎的特質同時也是我擷取和生活的方式，他們組構出一個我的現況和我的樣貌。所有畫中的臉，是我的臉也是所有人的臉。
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裡面的線條具有明確的路徑，交錯的狀態下卻呈現出一種失焦、流動的效果，這之中有種不穩定的性格在我看來是一種普遍存在的性格，因為普遍的虛浮。事實上我想這是我們新的生活方式，或是一種假藉虛無的忙碌來逃避真實的空虛的問題。藉由不停的竄動填補時間的空位，就像是液態的分子在一段時間撞擊下呈現出固態的可能，我們存在的樣貌也會以這種模式顯現出來。
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其中富含的陰鬱、漠然、不健康、浮動、破碎的性質是太多人的共相，是新生的模式，是我們的生態。
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Direct instinctive painting manner guides me creating art work at the first beginning. Without any presumptions and existence conditions, the supporter of my creating image are the huge complicated floating archives which include active and passive receptions and the source has be broken can not be tracing.
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All of these images, words and massages finally becoming the same thing. The beginning of my painting comes from my mental and physical instincts, and then, the image and information start to involve and become the most influence element to my work. These floating and broken characters are also the way of my living. They organize an appearance and situation of me. All of these faces in the painting are my faces and others too.
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In my work, the lines have clear route. These show an effect of out of focus and floating. It has instable characters, but in my opinion, because of common impracticality, it is also a character which exists everywhere. In fact, I think this is our new way of living or a way to escape the empty problems of reality by pretending to be busy. Something could fill up the spare space of time by continually movements, like tremble. It can be imaged to be that the molecules of liquid convert into solid since a period of ceaselessly impact. All the melancholy、apathetically、ill、floating、broken factors contained in my works contribute to a pattern of new life, which is our living condition.
