CHEN HUNG: 時間的灰燼(The Dust of Time)

小花蔓澤蘭
裝置 2019
雕刻於混凝土上
展覽：小說：雙城計劃
台北市立美術館，台北/台灣。

Mikania micrantha
Installation 2019
concrete, c-clamp, factory trolley
installation view of the exhibition
Island Tales: Taiwan and Australia
Taipei Fine Arts Museum, Taipei/Taiwan

本計劃透過雕刻植物影子，展示出一種生物及礦物造型化的過程，轉化了歷史、邊界、事件之間的侵入關係，並藉由作品的形式與空間佈局，刻劃出歷史景觀或事件碎片，並將之塑造成一塊塊時間的結晶。

浮雕作品「小花蔓澤蘭」，是以植物小花蔓澤蘭的影子作為對象，運用雕刻的手法，將影子雕鑿在由混凝土及礦物所製成的面板上。這種生長速度奇快的攀緣藤本植物，原是中南美洲的原生植物，在二次大戰時因為戰術需求被引入亞洲，當時僅作為機場偽裝掩體的軍事用途，現已成為太平洋地區分佈最廣泛的外來物種。邱承宏透過這種方式，揉合了生物與陰影，轉化了歷史中隱含的人與植物之間的關係。

By carving plant silhouettes, the project” The Dust of time” presents the process of stylising living creatures and minerals, where the invasive relationships amongst history, borders and events are transformed. Taking the composition and arrangement of the exhibition space into account, the artist attempts to depict and present historical scenes or fragments of specific events in the form of crystalized time.

The relief, The Dust of Time: Mikania Micrantha, portrays shadows of Mikania Micrantha by carving on a surface made from concrete and minerals. Mikania Micrantha is a tropical plant known as bitter vine or climbing hemp vine. It is a vigorously growing perennial creeper originated from Central and South America. The plant was brought to Asia During World War II for military Purposes as it makes good camouflage for the airports, The vine has now become the most widely spread alien species in the Asia Pacific region. Blending living creatures and shadows, the artist transformed the historical relationship between humans and plants.

----------------------------- 《採光#複調神話》裝置 2021
混凝土、大理石、黑鐵、瀝青、礦石、黃銅、吊車
「複調神話」國立台灣藝術大學

Daylighting#Polyphony Myth
Installation 2021
concrete, marble, iron, asphalt, mineral, brass, crane
Polyphony Myth,
National Taiwan University of Art

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《採光#嘉義植材廠》裝置 2021
混凝土、大理石、黑鐵
「由林成森」嘉義市立美術館

Daylighting#Chiayi Sawmill
Installation 2021
concrete, marble, iron
A Rhythm of Tree Forming the Forest,
Chiayi Art Museum, Chiayi, Taiwan

筆記

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雕刻在牆上
依據場地而定
展覽：悄聲騷動
耿畫廊TKG+，台北/台灣

carve on wall
dimensions variable
installation view,in the exhibition
QUIET RIOT
Tina KengGallery TKG+Projects, Taipei/Taiwan
2018

在作品<光跡>中，藝術家邱承宏轉移了另一處空間中的燈具，將它們重新陳設在展覽場所中，同時依據著畫廊空間裡原本的建築結構來進行配置。在這些燈具的投射下，邱承宏循著光暈的輪廓，將它們一一雕鑿在空間中，之後再將這些搜集來的燈具移除，讓原本空間中的自然光與雕刻(影)同時並存。邱承宏通過刻劃出某個日常片刻的光影印跡，將空間的感知慢慢地鑲入在其他不同的時空凹槽中，保留一種直接但溫和的衝突。

With the work , artist Chen-Hung Chiu repurposed a lighting device from another place and installed it at the exhibition space, according to the gallery’s original structure. Under these lights, Chen-Hung Chiu traced the silhouettes generated by the device, and sculpted them one by one in the space. The lighting device was then removed and thus the sculptures (shadows) coexists with natural light in the gallery. By carving the imprints of light and shadow from a certain ordinary daily moment, Chen-Hung Chiu engraved spatial perception inside a container of another space and time, and preserved a kind of conflict that is direct yet subtle.