【飛行物2011-1】

• 2011
• 91.5×200cm
• 油彩、油性蠟筆、麻布

如果要為「飛行系列」作一個美學上的概念分析，可以說那是一個關於「自由」的概念。康德曾經為藝術作了一個著名的美學性說法。他說：「美學的追求是一種無目的的合目的性。」這個說法特別適用於作者的「飛行系列」作品上。所謂的「無目的」在作者的創作脈絡上最為純粹。「飛行系列」當中的繪畫型態並沒有要去構築出什麼特殊的美學性，反而卻是一種繪畫當中更基礎的性質－「自由」。對於這個美學上的「自由」概念，其實也正是作者對於藝術創作這個活動的「合目的性」。「飛行物可以是任何東西，它的形象允許不確定性，可以是漂浮…甚至是一種神遊。」（游依珊創作日誌2009）。在「飛行系列」裡，作者所處理的並不是乘坐某種飛行機具的飛行狀態，而較像是囈想冥思之類的表達。
 
【Aircraft 2011-1】

• 2011
• 91.5×200cm
• Oil paint, crayon, linen

If we want to analyze “The flying series,” from the vantage point of aesthetics, we could say that it is about freedom. Kant has a well known saying in that “the pursuit of aesthetics is aimless and purposive.” It is particularly true in Yu’s “Flying series.” The so-called “aimlessness” is exactly what the artist is searching for; to the artist the aimlessness is a kind of freedom free of the academic sense of beauty. Instead, the inherent act of painting is purposive on its own. Yu once wrote that an aircraft can be anything, but its image is allowed to be uncertain. It can be floating or even a kind of spiritual fugue. In the “flying series,” the artist does not depict the vessel nor the flight but rather the meditative state where one’s mind goes for a walk.