藝術家專題：派特里克·博卡諾斯基 
ARTIST FOCUS：PATRICK BOKANOWSKI

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簡介 Synopsis:

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《太陽之夢》透過其形式化的影像，描繪了光與影之間的角力。這兩股交織的運動，構成了影片的動力核心，並賦予一種流動的可塑性。如同馬克西姆．高爾基曾以「影子的王國」形容盧米埃兄弟的早期影片，這部作品同樣置身這座王國之中——借用馬克西姆・高爾基對盧米埃兄弟早期實景影片的形容。紀錄與放映的機制不僅捕捉現實，更徹底改造現實。此作直指電影工具本身，挑戰第七藝術對虛構世界與幻影景觀的建構能力，並因米歇爾・波卡諾夫斯基（Michèle Bokanowski）的音樂更顯迷人魔幻。

 

如同繪畫般，本片的影像具備重新創造可見世界的力量。透過疊影，它不斷改寫素材，形體被延展、放大、變形。那些流動的影像如雲彩般激發觀者的想像，如夢似幻，又似撕下的日記頁面，勾勒出回憶的輪廓。我們無法確知，是怎樣的潛意識孕育出《太陽之夢》。它屬於創作者的夢境嗎？還是屬於片中那名打盹的孩子？抑或屬於我們自身？這是一趟邀請每位觀者以自身方式聆聽與感受的旅程。

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—— 雅克・克馬邦（Jacques Kermabon）

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UN RÊVE SOLAIRE recounts, through its formal figuration, the struggle between shadow and light. These twinned motions form the film’s dynamic impetus, and endow it with a driving plasticity. Here, we are in the “Kingdom of Shadows,” to borrow the epithet Maxime Gorky leant to the first Lumière actualities. The very mechanisms of recording and projection transfigure reality. Un rêve solaire brings these tools to the fore, pushing the limits of Seventh Art’s ability to conjure imaginary worlds and incredible fantasmagoria, here enhanced by the enchanting music of Michèle Bokanowski.

 

Akin to painting, the images in this film possess the power to reinvent the visible. They revise material in superimposition, giving this long-important technique systematic function. Forms are stretched, amplified, and metamorphosized. These often-fluid figures provoke the imagination, just as the shapes of clouds have inspired men from time immemorial. More specifically, they evoke memories, like pages torn from a personal diary.

We don’t know what unconscious birthed Un rêve solaire. Does it belong to the dreams of the artist-filmmaker? Or to the child we see dozing? Or to ourselves? It is an invitation to a voyage, to be heard by each in his own way.

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- Jacques Kermabon