台北當代藝術館 官方網站 Museum of Contemporary Art, Taipei

「繼時性對比」一般是色彩學中指涉視覺先行感覺對後續感覺影響的情況；【繼時對比–張惠蘭個展】即是延伸了這個概念，作品透過空間的連結型態相互影響，有鏈結、過渡的身體位移，也有對比的「多重性」象徵，延續時間綿延的特質，並穿越連結主體與另一主體間的邊界，與觀者行進之間視覺經驗的過渡，嘗試建構一個外在與私密的空間領域。透過觀者身體位移在觀看中產生感覺的時間次序與轉換，我們所屬城市的藍圖與影像、色彩與家庭記憶，也藉由對比關係來確定其同期性及上下層的關係，在其消逝的過程中使用的個人創作語彙創造另一層意義的再生。

張惠蘭的創作長期關注女性自覺，並將私密性與社會性相互指涉，創造出獨特的日常藝術語彙。【繼時對比-張惠蘭個展】則是由藝術家尋找個人創作與其生長地的連接點出發，以空間、生活與環境為基礎，將外部的日常環境、內在的記憶片段、與物件之間的符碼，透過空間的書寫組構新的閱讀可能。

張惠蘭的父親在2004年因居住之眷村即將拆除而被迫搬離後，日復一日地將路上違規張貼的廣告帶回家摺疊，轉換成可收納垃圾的紙盒。因搬遷而與家的斷裂失落的事件，在紙盒影像中的片段文字與色彩組合下，逐漸透露一些蛛絲馬跡與時代碎片。除了成為自我審視以及內在思考的介面外，作品也透過空間裝置反映了傳達出父女對於時間與環境上的轉變，以及自身所面臨的處境試圖安身立命的過程。 In chromatology, "successive contrast" refers to the perception of currently viewed stimuli is modulated by previously viewed stimuli. Successive Contrast—Solo Exhibition of Chang Hwei-Lan extends this concept with artworks that are mutually influencing through connections in space. The exhibition features interconnecting and transitioning physical movement as well as contrasting symbols of "multiplicity" that visualize the continuous characteristics of time. It traverses the boundary that connects individual subjects and the transition that takes place in audience's visual experience during movement, attempting to construct a site connecting external and private spaces. Through perceptive temporal sequence and successive changes occurred during audience's physical movement, the synchronicity and correlation of blueprints and images of our city as well as colors and familial memories are affirmed through contrast. They artist attempts to give these things new meanings through her personal artistic language during the process of their gradual disappearance.

Chang Hwei-Lan's work addresses female self-awareness and mutual referencing between privateness and sociality, creating her unique artistic language rooted in daily life. Successive Contrast—Solo Exhibition of Chang Hwei-Lan begins with the artist's search for connections between her art-making and where she grows up. In the exhibition, she uses space, life and environment as a basis and constructs new possibilities for reading through spatial writing with symbols from external daily environment, segments of personal memory, and objects.

In 2004, the artist's father was forced to move out of the military dependents' village he had lived in because it was about to be torn down. Afterward, day after day, he brought home illegally posted advertisements found on his way home, and folded them into paper boxes used for collecting garbage. From fragments of texts and color combinations found on the paper boxes, the incident that triggered a sense of feeling loss and being separated from home gradually revealed itself through tiny traces and fragments of our time. Together, they have formed an interface, which the artist has used for introspection and contemplation. Through the spatial installations on view, the exhibition reflects how the father and daughter have processed and coped with their situation that entails temporal changes as well as changes in their surroundings.