囈語‧異語ⅠDreaming Talk
32.5×21CM 紙漿、絹印、藍膜版畫Paper pulp、Silkscreen、Blue Film 2008
囈語‧異語Ⅱ Dreaming Talk
32.5×21CM 紙漿、絹印、藍膜版畫 Paper pulp、Silkscreen、Blue Film 2008
2008年3月19日 星期三
囈語‧異語Ⅰ Dreaming Talk
囈語‧異語ⅠDreaming Talk
32.5×21CM 紙漿、絹印、藍膜版畫Paper pulp、Silkscreen、Blue Film 2008
囈語‧異語Ⅱ Dreaming Talk
32.5×21CM 紙漿、絹印、藍膜版畫 Paper pulp、Silkscreen、Blue Film 2008
2008年1月21日 星期一
枕頭展作品--囈語Dreaming Talk
《囈語Dreaming Talk》紙漿、棉、LED燈 Paper Pupl、Cotton、LED
100*285*30cm
2008
2008全國版畫展大會獎得獎作品
枕頭計畫Project Pillow 展期：01/21-03/02 ，關渡美術館4F、5F，傳統藝術創意資源中心
運用報紙紙漿壓模翻製，表面印上或製造如浮水印般的注音符號，結合紙漿立體造型構成；紙漿中殘留報紙的碎片，暗喻目前台灣媒體、社會、教育等，猶如囈語般地迷濛不清之狀態。
中心枕頭運用台灣特有的ㄅㄆㄇ注音符號為元素，用立體發泡方式，讓符號浮凸於作品上做不規則的排列，製造出讓人面對熟識的音符卻拼不出其發音的模糊感，猶如聽到枕邊斷續殘缺的夢話。那些我們曾在枕上無意識傾吐出的聲音，代表我們內心想被理解卻害怕被視穿的夢魘，令聽聞的對象感到囈語般地困惑不解，卻又有種兒語的趣味。
Press molding, using newspaper pulp, to print or produce the watermark like Chinese Phonetic symbols on the surface, and combine with flashing light . The newspaper debris residue in the pulp implies the unclear status of Taiwan’s media, society and education.
It uses Taiwan’s unique ㄅㄆㄇ(Bo, Po, Mo) phonetic symbols as the elements, with the three-dimensional foaming method to allow the symbols as relief on the work with irregular lining. It creates a fuzzy sense of seeing the familiar symbols but not being able to pronounce them, just like incomplete sleep talking. The voices that we used when we were unconscious represent the nightmares that we want to be understood but are also afraid to be seen through; it makes the person who listens to it feel confused but also sense the fun in children’s language.
運用報紙紙漿壓模翻製，表面印上或製造如浮水印般的注音符號，結合紙漿立體造型構成；紙漿中殘留報紙的碎片，暗喻目前台灣媒體、社會、教育等，猶如囈語般地迷濛不清之狀態。
中心枕頭運用台灣特有的ㄅㄆㄇ注音符號為元素，用立體發泡方式，讓符號浮凸於作品上做不規則的排列，製造出讓人面對熟識的音符卻拼不出其發音的模糊感，猶如聽到枕邊斷續殘缺的夢話。那些我們曾在枕上無意識傾吐出的聲音，代表我們內心想被理解卻害怕被視穿的夢魘，令聽聞的對象感到囈語般地困惑不解，卻又有種兒語的趣味。
Press molding, using newspaper pulp, to print or produce the watermark like Chinese Phonetic symbols on the surface, and combine with flashing light . The newspaper debris residue in the pulp implies the unclear status of Taiwan’s media, society and education.
It uses Taiwan’s unique ㄅㄆㄇ(Bo, Po, Mo) phonetic symbols as the elements, with the three-dimensional foaming method to allow the symbols as relief on the work with irregular lining. It creates a fuzzy sense of seeing the familiar symbols but not being able to pronounce them, just like incomplete sleep talking. The voices that we used when we were unconscious represent the nightmares that we want to be understood but are also afraid to be seen through; it makes the person who listens to it feel confused but also sense the fun in children’s language.
2007年10月25日 星期四
器形系列 Series of Battles
《老虎鉗 Plires》82×112cm
複合媒材 Mixed Media
2006
《器形系列Ⅰ-1 Series of Battles Ⅰ-1》90×112cm 紙漿、鉛筆 Paper Pulp,Pencil
2004
歷史博物館收藏
歷史博物館收藏
《器形系列Ⅰ-1 Series of Battles Ⅰ-1》 (局部)
《器形系列Ⅰ-2 Series of Battles Ⅰ-2 》
118×99cm
紙漿、鉛筆 Paper Pulp,Pencil
2004
《器形系列Ⅰ-3 Series of Battles Ⅰ-3 》
95×118cm
紙漿、鉛筆 Paper Pulp,Pencil
2004
《器形系列Ⅰ-4 Series of Battles Ⅰ-4》
95×118cm
紙漿、鉛筆 Paper Pulp,Pencil
2004
《器形系列Ⅱ-1：剪刀 Series of Battles Ⅱ-1：Scissors》
95×118cm 紙漿、鉛筆 Paper Pulp,Pencil
2006
關渡美術館收藏
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