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虛空風景


尺寸不定
陶瓷, 陶泥 ,錄像

2016

 

‘Time helps to make known the essence of things.’ Time seems too gigantic for the temporary living beings to comprehend fully. In my art creation, ceramic is taken as a means to highlight the charm from the stamp of time, to appreciate the evanescence of life. Nature teaches us the true beauties of things are imperfect, impermanent, and incomplete.

 

The hand-built ceramic bones with bold forms and rich earthy texture resemble the decay and erosion. The rock-like bones seem tough yet fragile, permanent yet temporary. By different rearrangement and composition, the ceramic bones turn into a landscape-like miniature. It neither imitates Chinese nor Japanese bonsai but stands alone as an abstract and unique bonsai formed with decayed ‘bone’ fragments.

 

The lens has poetically transformed the bones into mountains and rocks. Filming the ceramic bones in close-up shows excessive texture, details and reflected images on the water below, the illusion of a dreamy landscape is portrayed The video in slow rotation lead the viewers to travel through the floating clouds, mountains and caves, which give an everlasting illusion but they are only the reflection of the evanescence.

創作「虛空風景」時,我以陶泥手捏出枯骨並強調泥的質感, 呈現出堅硬又脆弱的矛盾。 泥土跟人之間的微妙關係﹣是孕育生命之處也是肉身的歸處。以陶瓷枯骨造景,把堅固與脆弱的質感並置,以陶瓷與未經燒成的陶泥呈現時間轉𣊬即逝的痕跡 。錄像給予作品更強的時間性,以微距與局限的視點去拍攝陶瓷,一束光穿越死亡的風景投射出夢幻的山水景觀,以轉動的方式展現出永恆的幻影。在時間面前,生命的本相是卑微與脆弱的 。

Bonsai of Vanity 

 

2016

ceramic, greenware, water, single-channel video

ceramic: 150cm x150cm x 40 cm

video: 11 min 25 sec

Time seems too gigantic for mortal beings to comprehend fully. Bonsai of Vanity,tried to capture Being (Dasein) in its temporality and fragility. The work combines both ceramic, greenware(unfired clay) and video, which closely construct each other in one piece, neither is supplementary. The bone-like ceramic pieces are made of rough and mixed clay, which aims to provoke a desolate feeling. Thin layers of water were placed underneath the sculptures. When the water dried out, the greenwares cracked and partly scattered leaving a trace of time.

 

These ceramic bones are carefully arranged into a 'bonsai'. Ceramic pieces are loosely shattered and resembled in a montage approach forming 'a scenery of evanescence'. The video captures the rolling 'bonsai' from a close-up perspective and is projected in wall-sized onto the slanting ceiling above the ceramic sculptures.  Visualizing a timeless virtual travel between the waters, mountains and caves in real landscapes, the illusion suggests a poetic translation of the subjective reality under the gaze manipulated by the lens.