CHEN HUNG: 精神的重量(Weight of the Spirit)

《精神的重量》Weight of the Spirit 532公斤大理石、607公斤北美花旗松、8公斤不鏽鋼、吊車
裝置 2017
展覽：時間的灰燼
伊日藝術，台北/台灣

2017,installation
marble(532kg).Douglas fir(607kg).stainless steel(8kg).crane
installation view of the exhibition
The Dust of Time
YIRI ARTS,Taipei/Taiwan.

《海面的雲朵》Clouds over the Sea
礦物、磚瓦、水泥、金屬組件

minerals, brick, cement,metal components
780(L)x180(W)x180(H)cm
2025

《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.