台北市北投運動中心公共藝術棋逢敵手
±600Lcm × 600Dcm × 600Hcm
鑄銅、烤漆、高強度壓克力、LED數位燈組 2005
2008年2月17日 星期日
棋逢敵手
運動不單只是身體的機能活動而已，亦包含心靈及智慧的運用，此作品運用中國的象棋與西方的西洋棋作為創作體裁，設置於樓層間的樓梯部份，運用現有的建築鋼構恰似棋盤上的經緯線作為基礎，以空間顛倒的方式讓上下樓梯時增加趣味性，讓樓梯間的氛圍活潑起來，而棋子的造型結合運動器材或工具作為組構的元素，讓空間地域的屬性突顯，將樓梯的底部想像為楚河漢界，並藉由中文及英譯的方式，讓東西方的思考運動做一種交錯的心靈運用。此作品希望藉由空間視覺上的錯置能讓經過此樓梯的群眾增加思維上的想像，更讓單調的樓梯增添點詼諧趣味的色彩，冀望帶給北投地區市民不同的人文景緻。
台北市北投運動中心公共藝術
台北市北投運動中心公共藝術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12月25日 星期二
蝴蝶王國 Butterfly Kingdom
《蝴蝶王國 Butterfly Kingdom》
凹版蝕刻、細點腐蝕
Etching,Aquatint
45*60cm
2007
此作品延續版圖系列作品的創作觀點，以台灣地圖的造形為蝴蝶的翅膀，以飛機機身、飛彈、子彈、船艦…為蝴蝶身體，組合成有如蝴蝶圖鑑般的形式，突顯台灣現實環境下所處的國際情勢；台灣早期有蝴蝶王國之稱，西班牙人稱台灣為福爾摩莎(FORMSA)，意思為美麗的地方，輸出蝴蝶標本是台灣早期國際貿易賺取外匯的手段，猶如將美好的事物販售出去，讓人有種不捨又無奈的感受。翅膀上的花紋是將當地的報紙撕成台灣形狀，運用裱貼技法完成，而線條及文字部份皆是以凹版蝕刻方式表達，凹版蝕刻是西方早期印刷術印製圖鑑等最常見的方式，其製造出來的肌理效果，深至紙心正是符合我所要傳達的感覺。報紙上有當地活動的新聞、安德森牧場藝術中心創辦人Paul Solder的人像，以及一些與主題相關聯的文字，如a perfect place，PEACE等字樣，一再地環繞在台灣這個環節上，當然，這或許與自己身處在國外時，對於生長環境---台灣的深刻省思吧！
This work was created during the resident artist exhibition in Colorado of US to extend the creative perspective from the works of territory series, taking the shape of Taiwan map as the butterfly wings and airplane, missile, bullet and naval vessel as the butterfly body that creates the pattern of butterfly-like illustrated handbook and highlights the international situations Taiwan is in face of; known as “Kingdom of Butterfly” in early days, Spaniard called Taiwan as Formosa, meaning “Beautiful Island,” and the export of butterfly was one earlier major means to earn foreign exchanges for economic development in Taiwan, as if having the beautiful things sold that produces a sense of feeling of reluctance to give up and having no alternative. The decorative pattern on butterfly wings is created by tearing off the local newspapers to create the topographical shape of Taiwan and applying the mounting techniques for a finish, as the lines and written words are expressed by intaglio etching which is the most common-seen method widely used in earlier Western printing technique in making illustrated handbook. The texture effect produced from intaglio etching will be penetrated to the inner core of the paper that will exactly live up to the feeling what I hope to express. The newspaper delivers the news, local activities, the portrait of Pal Solder, the founder of Anderson Ranch Art Center, and some written words related to the creative theme, such as a perfect place and PEACE, thus involving the theme of Taiwan. Of course, it may be a sense of profound introspection over Taiwan, the place where I grew up, when I reside abroad.
※相關報導介紹
This work was created during the resident artist exhibition in Colorado of US to extend the creative perspective from the works of territory series, taking the shape of Taiwan map as the butterfly wings and airplane, missile, bullet and naval vessel as the butterfly body that creates the pattern of butterfly-like illustrated handbook and highlights the international situations Taiwan is in face of; known as “Kingdom of Butterfly” in early days, Spaniard called Taiwan as Formosa, meaning “Beautiful Island,” and the export of butterfly was one earlier major means to earn foreign exchanges for economic development in Taiwan, as if having the beautiful things sold that produces a sense of feeling of reluctance to give up and having no alternative. The decorative pattern on butterfly wings is created by tearing off the local newspapers to create the topographical shape of Taiwan and applying the mounting techniques for a finish, as the lines and written words are expressed by intaglio etching which is the most common-seen method widely used in earlier Western printing technique in making illustrated handbook. The texture effect produced from intaglio etching will be penetrated to the inner core of the paper that will exactly live up to the feeling what I hope to express. The newspaper delivers the news, local activities, the portrait of Pal Solder, the founder of Anderson Ranch Art Center, and some written words related to the creative theme, such as a perfect place and PEACE, thus involving the theme of Taiwan. Of course, it may be a sense of profound introspection over Taiwan, the place where I grew up, when I reside abroad.
※相關報導介紹
2007年10月25日 星期四
Zero 2 Nine 藏書票(Ex-libris)
《NINE》凹版蝕刻、一版多色 Etching,Aquatint 6×8cm 2006
《EIGHT》凹版蝕刻、一版多色 Etching,Aquatint 6×8cm 2006
《SEVEN》凹版蝕刻、一版多色 Etching,Aquatint 6×8cm 2006
《SIX》凹版蝕刻、一版多色 Etching,Aquatint 6×8cm 2006
《FIVE》凹版蝕刻、一版多色 Etching,Aquatint 6×8cm 2006
《FOUR》凹版蝕刻、一版多色 Etching,Aquatint 6×8cm 2006
《THREE》凹版蝕刻、一版多色 Etching,Aquatint 6×8cm 2006
《TWO》凹版蝕刻、一版多色 Etching,Aquatint 6×8cm 2006
《ONE》凹版蝕刻、一版多色 Etching,Aquatint 6×8cm 2006
《ZERO》凹版蝕刻、一版多色 Etching,Aquatint 6×8cm 2006
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
木石 Wood Rock
《木石 Wood Rock》 柴燒 2007《木石 Wood Rock》的創作發想是與駐村時間Wood Firing這堂課文字字義及當地隨處可見的木材和岩石，有密切的關連性。以陶板拓印(MARK)藝術村建築上或週邊的木紋，運用木紋陶板去組構出岩石造形。初到安德森牧場藝術中心，經常進入眼簾的是當地的ASPEN樹與岩石，結合木材、石頭以及柴燒的意象，柴燒以木材為燃燒生溫材料，泥土是陶瓷的原料，運用現有材料的紋理及特性，創造具有木紋的石頭，針對固有名詞意涵，以及既定對材質形貌的記憶烙印，撞擊出西方思維上的辯證關係，進而引申出中國五行生剋相生哲學究理。
就實物造形來看，柴燒Wood Firing所燒製出來的表面泛顯著金屬的光澤，依附於木紋組合出的岩石，有一種回溯遠古或化石般的假象。
2007年10月24日 星期三
版圖系列Series of Maps
《版圖系列Ⅱ-1 Series of Maps Ⅱ-1》
凹版蝕刻、藍膜版畫 Etching,Aquatint,Image-On 20×25cm 2006
《版圖系列Ⅱ-2 Series of Maps Ⅱ-2》凹版蝕刻、藍膜版畫 Etching,Aquatint,Image-On 20×25cm 2006
《版圖系列Ⅱ-5 Series of Maps Ⅱ-5》凹版蝕刻、藍膜版畫 Etching,Aquatint,Image-On 25×20cm 2006
《版圖系列Ⅰ-1翱翔 Series of Maps Ⅰ-1 Fly in Sky》凹版蝕刻Etching,Aquatint 77×90cm 2005
版圖系列Ⅰ-1發現 Series of Maps Ⅰ-1 Discovery》凹版蝕刻 Etching,Aquatint 90×77cm 2005
2007年10月23日 星期二
葉脈系列 The Leaf Vein Series
《循環123 Sequence 123》72×48cm 紙漿、混合技法 Paper Pulp,Mixed Media 2001
《紀念 Commemoration》88×38.5cm 混合技法 Mixed Media 2001
《葉脈系列 Ⅲ The Leaf Vein Series Ⅲ》72×48cm 橡膠版 Lino Cut 2001
《葉脈系列 Ⅱ The Leaf Vein Series Ⅱ》64×46cm 併用版 Mixed Media 2001
《葉脈系列 Ⅰ The Leaf Vein Series Ⅰ》
64×46cm 橡膠版 Lino Cut 2001
《葉脈系列 Ⅰ The Leaf Vein Series Ⅰ》64×46cm 橡膠版 Lino Cut 2001
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