畫家的創作起點從來不是孤立的，它需要與外在世界產生關聯，這種關聯可能來自一本書、一幅畫，或與某個人的交流。這樣的互動逐漸沉澱為畫家個人的生命經驗，成為創作中的基礎和脈絡。這種脈絡不僅是個人的生命故事，同時也能延伸，成為藝術史的一部分。
對畫家而言，藝術史意味著什麼？它是一個外在世界的複雜結構，多數的繪畫創作，都必然是在延續、推翻或創新的過程中與過去對話。畫家透過模仿、對比、參照和挪用經典繪畫，走上了「為了前進而回頭」的創作道路。這樣的創作方式，也體現在謝牧岐近年的作品中。他從台灣藝術史中的經典作品汲取靈感，將這些經典作為參照，演繹自己在文化和繪畫題材上的探索，並因此開啟了全新的繪畫邏輯。透過反覆思索與消化他者的作品，謝牧岐逐漸形成了屬於自己的獨特風格。
《起始的地方》這場展覽的命名，源自謝牧岐2006年的作品《沒有起始的地方》。這樣的命名轉變，象徵著他創作心境的變化，也是他對繪畫創作的深層整理與探索。他所採取的創作方式，像是為過去的作品續命，抱持著反覆創作的心態，嘗試在多次的操作中看能否產生新的表現。因此，謝牧岐追求的不是固定明確的風格，而是一種可以不斷操作的繪畫邏輯與題材，讓他能夠回到最初學習繪畫的那份純粹。
The starting point of an artist's creation is never isolated; it requires a connection with the external world. This connection may come from a book, a painting, or an interaction with someone. These interactions gradually accumulate into the artist's personal life experiences, forming the foundation and context of their work. This context is not only a personal life story but can also extend to become part of art history.
What does art history mean to a painter? It represents a complex structure of the external world, where most painting creations are inevitably dialogues with the past—whether by continuation, subversion, or innovation. Through imitation, contrast, reference, and appropriation of classic works, painters embark on a path of "moving forward by looking back." This method of creation is also evident in Hsieh Mu-Chi's recent works. Drawing inspiration from classic pieces in Taiwanese art history, Hsieh uses these classics as references, interpreting his own exploration of cultural and thematic subjects, thereby opening up a new painting logic. By continuously reflecting on and digesting the works of others, Hsieh gradually developed his unique style.
The title of the exhibition "The Place of Beginning" stems from Hsieh Mu-Chi's 2006 work "The Place Without Beginning." This shift in naming symbolizes a transformation in his creative mindset, reflecting a deeper reorganization and exploration of his painting practice. Hsieh’s approach to creation is like breathing new life into past works. With a mindset of repetitive creation, he attempts to discover whether new expressions can emerge through repeated operations. Thus, what Hsieh pursues is not a fixed, definite style, but a painting logic and subject matter that can be continuously manipulated, allowing him to return to the purity of his initial learning of painting.