時尚設計大師溫慶珠採訪羅展鵬4/4篇
在幽暗曠野上尋光的孩子
文字／鍾瑩貞 CHUNG Yin
（承上）⋯
。在那段應該盡情戀愛、玩樂的年齡中，他選擇直視自己的命運，以蠻橫的毅力溫柔擁抱最愛的繪畫。「其實有一段時間我很恨我的父母，但後來發現，這些歷練其實都是神的禮物，成為讓我足以在藝術圈活下來的養分。」這也是命運的奇特之處，你無法知道未來是好、是壞，因為好壞是交織在一起的，純粹看你選擇如何看待。
「命運其實是有劇本的，任何決定其實都互相關聯。」
因緣際會下接觸到溫慶珠，幾年後來到FIFI茶酒沙龍三樓的伊莎閣樓小花園，被其古典摩登、富麗卻不造作的風格吸引，因此選擇在此拍攝小女孩構思一幅畫作。「她那麼純潔，渾然不覺世界正在塌落毀壞中。抬起腳，風吹拂的頭髮，她的純真可以打敗世界所有的悲傷。」陳文茜如此形容這件作品。羅展鵬在這幅畫中試圖借地借景打破他原有慣性的呈現方式，或許可以摸索出他企求突破的一點可能，雖也可能是未竟的可能。這似乎也是某種無法被言說的因果鍊。
人其實很脆弱，很容易遭受自大、自私、自卑、沮喪、狂喜等情緒襲擊，不論受到物理或心靈的傷害，都是一種破壞自身平衡的傷害，只是形式不同罷了。「信仰基督教是我維持心靈平衡的方式，我需要一個可以感謝的對象，如此一來，當我越來越成功時，我依然有一個可以提醒我記得謙卑的對象。」
偶爾像藝術家，偶爾像思想家，但更多時候，羅展鵬反而像個對世界、命運極為好奇的心靈信仰者。聽著他最喜歡的蕭邦《第二十號升C小調夜曲》，我彷彿看見他在陰冷曠野上踽踽獨行，緩慢也沉重，但卻異常平靜。有人曾說「每個人來到世上的目的就是成為自己」，他像是在曠野上尋光，也像是在尋找自己，尋找那個本就存在的「內在小孩」，即使皮囊已疲倦，心靈已斑駁，但從他的嘴角與眼神，我看見那個小孩在發光。不是越活越回去，而是成為了最原始的自己。剎那間，我好像看見曠野溫暖了起來。
Know more about Lo Chan Peng4/4
He chose to look at destiny in the eyes and embrace his passions for painting through determination when he should have been enjoying a little romance and his youth. “I hated my parents for a period of time, but then I realised all these challenges were the gifts from god, and they eventually became the nutrients to my artistic career.” This is the uniqueness of fate, for you cannot predict whether the future is going to be good or bad, and your choices would determine the outcome He speaks with a philosophical air: “The destiny actually follows a script, and it confirms that any decisions one may make are connected.” He met Isabelle Wen by chance, and he was so impressed by the elaborate and decadent interiors of the small garden on the third floor of ISA House when he visited a few years later that he chose to photograph a young girl as the model for an innocent painting in situ. This indicates the unspoken rule of karma, in which we endlessly reunite and part“She is so innocent that she is unaware of the world crumbling around her. With her raised feet and wind-blown hair, her naivety could fend off all the sorrows on earth.” Sisy Chen has described the painting with these words I met Lo Chan Peng on a fine afternoon. I imagined him being murky and gloomy, but he walked towards us like a cheerful little boy. During the interview, he sometimes acted like an artist, sometimes spoke like a thinker, but most of the time he was like a spiritual believer who was curious about the world and destiny. Listening to his favourite Nocturne No. 20 in C-sharp minor by Chopin, I can almost see him walking across a bitterly cold plain, his steps slow and heavy, but unusually calm. It is said that “becoming oneself is the sole purpose of one’s existence in this world”; he is searching for a glimmer of light as well as himself as the existing “inner child” on the wild plains. Despite the exhaustion of the body and the battered soul, I can however see the glistening child in the corner of his lips and his eyes. One does not travel backwards but instead aim to pursue the original self. In the wink of an eye, I can almost see the plains warming up
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