「光」，是我創作生涯三十年以來主要研究的課題，在創作上逐漸發現過往的色彩理論，已無法滿足我對光影表現的追求。印象派過於注重光影而忽略形體輪廓，以致光影與形體間產生「取捨」，而這成了我欲突破的節點。傳統繪畫長久以來依循光、色分離的概念，兩者三原色並不一致。然而，既然光帶來色彩，光即是色彩，本出同源，最終理應相符，為何兩者之三原色竟有所區別？在我以光的原理所出發的色彩理論中，藍色多為光衰減的結果，因此我進一步調整，統一了光與色料三原色為全新的光色三原色（洋紅、黃、青綠），即所謂「光色合一」，並提出實例及當代色彩理論予以佐證，縮小繪畫與現實之間的差距，使畫面更具傳統繪畫所無法達到的真實與立體感。

此次【光色合一】展出的作品，一樣的三原色符號，有別於以往具象的表現，轉為抽象的演繹，也是個人創作上的一大突破。展出以光為系列的創作：光譜、光線、光暈、光的裝置等...，完整呈現獨創的光色合一。〔光暈〕為佐證光的增強與減弱的變化，且僅用三原色即可達到光的立體感。首次曝光200號的光線作品，簡潔利索的光線，在畫布上呈現出通透的空間與無限次元的想像。同樣也是首次曝光的還有一輛1971年份（同黃敏俊出生年月）出廠的經典偉士牌摩托車，車身也是以三原色繪製。此次展覽絕對讓觀者一覽【光色合一】的多元實踐。

 

“Light” has been the main subject I studied throughout the past 30 years of my creation career, during which I gradually realized that traditional color theories could no longer satisfy what I sought to express about light and shadows.

    The impressionists’ over-attention to light and shadows led to the overlooking of form and contour, and caused an “either light or form” conflicts which became an issue that I’ve been attempting to resolve.  All along, traditional paintings have relied on the theory that light and color were separate, so the primary colors of light and pigment were not consistent.  However, in my theory, since “light brings color, light is color”, so why the difference between the two?  The originated should coincide with the original.  In my concept, stemming from the theory of light, blue is mostly a result of the attenuation of light.  Accordingly, I made adjustment to minimize the difference between paintings and reality, producing more vivid, 3D and stereo-perceptive effects in artwork that traditional paintings could not achieve.  I proved my statement with supportive academic examples, lab tests done by scientists and contemporary color theories, thus resulting in three new primary colors of light and pigment (magenta, yellow, cyanine green); hence achieving “color-light unification”.

At this Color-Light Unification exhibition still labeled three primary colors, instead of the past realistic presentation, this time I make it in an abstract approach, it is also a great breakthrough in my creation career.  In Light Series including Light Spectrum、 Light Beam、 Light Halo, and  Light Installation, etc. I completely display the unique Color-Light Unification.  Among them, Light Halo is in proof of the changes of light enhancing and diminishing,   reaching 3D and stereo-perception only with the three primary colors.   Shown for the first time is also a classic Vespa scooter which was ex-factory in 1971 (the year Huang was born) painted with the new three primary colors.  This exhibition gives you a whole picture of the Color-Light Unification in various practices.