Impermanent Marks/
非永久性的標記
從2014年起透過工作室習慣放置一塊白板作為我日常紀錄、書寫創作的前端，「白板繪畫」從那時開始就從中不斷的被外界觀者描述及觀看，但對我個人概念而言是全然的倒反，「非永久性的標記」系列作品當時就不斷透過「標記」之動作取代稱為「繪畫」，「Mark」標記 ，作為動作起始，白色的表面上所進行的標記，並在影像素材內容梳理我自有記憶以來之災難記憶，透過媒體影像的留存重新建構影像畫面（虛擬白板），透過投影影像於白板上進行標記。
白板（Whiteboard）
1950年代白板的前身問世，第一件對外產品是一個電話記事鋼板烤漆，透過兩種材料的結合
鋼板、漆料（薄膜），展現出光滑的表面，經由書寫後還能擦拭掉，白板產品在80年代才得以完備，緣由為白板筆的改良（乾擦筆），在90年代台灣因為幼童呼吸道問題，產品進入學校，也是我在幼稚園接觸的第一個訊息傳達媒材，但我們從未記得上面寫了什麼。
短暫的白板歷史，為何在當今具備某種特性去進行書寫，這可能可以推測到電腦時代的來臨，透過虛擬且無限的白板（空白）工作介面再至現實的物質白板，白色也是作為可以從零到一再回到零的可回返性的介面，透過這樣的關聯連結也能從中理解訊息介面的可視以及易忘感。
The whiteboard was popularized in the 90s, its foundation can resume back to emptiness when needed, and possesses the unique quality to bear any images and texts; just as the virtual canvas of a calculator, and they are the digital language unique to this generation. Whiteboards have been adopted as a transitory tool to deliver mountains of temporary information, it bears an uncanny resemblance to the decentralizing governance of contemporary images. As the production of media images becomes readily accessible, anyone can cite and arrange images as they please. Experiences are often established in a fragmentary or abrupt manner, and the intent of these images become ephemeral as messages continue to layer and transform. In the narrative structure of news, repeating scenes of catastrophic events particularly assaults public awareness, agitating society’s collective consciousness. The artist positions himself within the whiteboard and watches these images that did not emerge from his own experiences, recounting past scenes of calamity and proceed to shift, seeking an entry point to cast personal experiences. While the vulnerability of an island country aches sorely through the incessant images, the fleeting quality of the medium eases an ever present anxiety. The disembodied images are eventually projected onto a whiteboard as the act of recording replaces a painterly arrangement, now behind the isolated images remain only an intricate web of lines. Through a commentative performance process, Peng Yihsuan has transformed convoluted memories into an arrangement intimate to the public experiences.