2014年11月26日 星期三

觀音(Kwan Yin)

展覽「觀音」作品
單頻錄像裝置
打開-當代藝術工作站,台北/台灣

Kwan Yin
Single-channel video installation
14'10"
installation view,in the exhibition
Kwan Yin
Open-Contemporary Art Center, Taipei/Taiwan,2014



觀音面容在雕刻師傅一敲一鑿中慢慢浮現,散落一地卻仍沾染著神祇氣息的大理石碎屑,在《觀音》作品裡幻化成一隻隻活靈活現的動物形體。蒐集─清理─重塑,從大理石、菩薩像到動物雕塑,藝術家活化了通常被視為廢材的鑿刻剩餘物,重新形塑成象徵吉祥長壽的仙鹿,邀請人們依人與物的關係圖示,並且沿著媒材轉化的線索,前往物質的精神國度。在這件民間信仰文化圖像昭然若揭的作品裏,邱承宏以慣有的溫厚抒情調性轉動了物質既定的單向操作,塑造出潛藏在物質裡卻能依不同情境湧現的想像;他帶著對於父族輩手工技藝的緬懷,持續進行一項關於歷史、社會和宗教的藝術/情感轉化工程。(文/張君懿)


The Goddess of Mercy’s features slowly emerge with each and every one of the sculptor’s strike and chisel. The fallen marble chips scattered on the ground are still cast by the breath of the goddess and morph into vivid animals in the work “Guanyin”. Collect--cleanse--remodel. First from marble, to the Bodhisattva and finally to the animal sculptures, the artist reactivates the chiseled residue often considered as waste material and re-shapes them into sacred deers which symbolize good fortune and longevity. The artwork beckons the audience to follow, according to the various relations between person and object, along the trail of converting mediums, into the spiritual realm of substance. As the work gradually discloses its profound concerns with traditional culture and folk beliefs, Cheng-Hung Chiu continues with his usual gentle touch and lyrically transforms the established operational system of substance by re-shaping our imagination of the hidden potential in material substance--new potentials which alter when confronted by various situations. Through his retrospection of the craftsmanship of our father’s generation, this is for Chiu an ongoing path of transforming from art the emotions buried deep within history, society and religion.












<觀音>一作裡,藝術家以佛像雕刻師傅的工作過程為錄像題材,並也搜集現場那些雕刻後,散落在地上的大理石碎屑塵粉,以此做為原料,由內而外,重新塑造出數隻姿態迥異的大理石鹿。在佛教故典中,鹿是經常被提及的動物之一,也是佛陀前世的形象,在寓言故事的描述裡,往往傳遞著一種捨身奉獻的精神 。藝術家藉由這些被削去石屑,讓鹿的形體再生,整個過程如同肉身考古般,堆砌出一種現實與精神層次的觀照。 而在錄像內容中,藝術家亦運用特寫視角,若隱若現的呈現佛像局部及大理石結晶、隱匿在工作室中的物件以及周邊昆蟲與植物的生命狀態等,將有機的生命形體對比著石材的無機狀態,彷如生命的短促對應著永恆的精神形象。 在創作過程中,藝術家重新檢視了佛像雕刻這種民間傳統的手工技藝,並回顧花蓮大理石產業鏈的歷史結構,這件作品同時也是對於自身家族產業(林木業)的生命經驗的某種轉喻。另一方面,藝術家也藉此反思西方雕塑發展的脈絡課題。他試著以逆向操作的方式,指出另一種造形上的形構邏輯,不僅僅是作為形象的再現,而是將物質轉化成幻象,過程中像是一趟賦予靈魂的歷險,在這些材料不斷被分解的過程後,重新發展物質與精神性的關係。







































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