2011-08-08
2011-03-16
Artist Residency in Phuket 2011/02/07-20
SOMETHING RED IN PHUKET
The idea of Something Red In Phuket is a combination of my impression of Phuket Old Town and the reference from my works. My impression of Phuket Old Town is very passionate and expanded, and I found it might be because of the mix-culture of Tailand, China and Western Countries. So I try to rebuild a vision of this mix-culture condition through red color researching project. The reason of choosing red color is because I found it is used largely in many ways here. I want to take pictures of things in red here, and find out the different references of these same color things.
Related blog:
2011-01-26
2011-01-18
Public Art:指尖的詩緒/Poetry of Fingertips-Public Art Project of CABTC
指尖的詩緒/ 陳怡潔、莊馥華
Poetry of Fingertips/ Agi Chen, Fu-hua Chuang
地面燈光設置/Installation of Ground Lamps
地面燈光設置/Installation of Ground Lamps
這是一件以彩色嵌燈表現點字形象的人行道舖面作品，我以莊馥華與海倫凱勒兩位多重障礙女詩人的詩作，跨越時空，讓生命際遇相似的女詩人在圓圈中心交會，轉化為一連串彩色繽紛的光影，使您透過作品體驗藝術家對弱勢朋友的關懷與愛心。
This public art work incorporates colorful ground lamps embedded as Braille codes on the pavement. I've endeavored an encounter for the two poets, Fu-hua Chuang and Helen Keller who both suffer from multiple disabilities, to share their life experience. When the two writers’ lines connect in a circle, such encounter symbolizes two poets embrace each other transcending time and space. Furthermore, the encounter has transformed to colorful hues and shades, glittering the viewers’ affection and concern for the under-privileged groups.
This public art work incorporates colorful ground lamps embedded as Braille codes on the pavement. I've endeavored an encounter for the two poets, Fu-hua Chuang and Helen Keller who both suffer from multiple disabilities, to share their life experience. When the two writers’ lines connect in a circle, such encounter symbolizes two poets embrace each other transcending time and space. Furthermore, the encounter has transformed to colorful hues and shades, glittering the viewers’ affection and concern for the under-privileged groups.
2011-01-02
Art work:關鍵影格/The Key Frames
國立台南藝術大學 威尼斯建築雙年展台灣館 Tainan National University of The Arts
卡通作為一種抽象化、虛擬化的現實，它透過電視媒體不斷地重複播放而成為大眾生活中一個變奏地場景，並造就出觀眾的集體視覺記憶。在「關鍵影格」作品當中，我以卡通角色的色彩將之抽象化為同心圓，再置入從影片擷取出地關鍵影格，即試圖在抽象與具象的符號之間逼現那不可見的集體視覺記憶。
As an abstract and Virtual reality, cartoon becomes a variation of scene in public life through mass media repetition, and it brings out the collective visual memory of the audience. In "The Key Frames", I analyze the pallet of the cartoon characters, abstract them into centric circles and place them back to the key frames captured from the cartoon. Through this process, I attempt to approach the invisible collective visual reality between the abstract and concrete symbols.
2010-10-29
Public art:時光流，記憶體-好時光藝術節 / Time and Memory-Good Time Public Art project
國立台灣博物館/ National Taiwan Museum
我從台博館公共藝術案主題"好時光"找出一種重新觀看歷史的思考點，因此這個作品的構想來自於幾個主要的線索，一個是在我函數色彩系列的作品中,透過抽象的幾何圖形（同心圓）與具象的都市場景所產生的衝突感重組視覺語彙，這個衝突感我把它解讀為一種新連結的開始。這個新連結也許是在具象與抽象之間，也許是在時間與空間之間，所以我希望以歷史建築物作為作品投影的介面，因為它迷人的地方在於它不屬於當下而獨步當下的優雅。具有歷史感的建築體提供了一個深具往返過去與當下的時光轉換介面，具備著開啟、穿越的語言;同時他也是個標誌區域的座標點。簡言之，這件作品所想做的是藉由歷史去想像歷史。許多人、事、物等發生的情境隨著時間的流逝而消逝，因此我們必須藉由歷史去對過去進行想像，而所謂歷史的呈現不盡然是文字的，它還包括了圖像、影像、建築、服飾、器物、音樂...等等，而這些視覺符號就像是時空轉換的傳送點，看到了它們，我們就會開始踏上某種想像的旅程。
As the theme of the public art project of National Taiwan Museum, “Good Time” inspired me to find a re-thinking point of view of history. So my idea was mainly from several clues, including “Function Color” series, which combine the abstract geometry (concentric circles) and the urban scene as the conflict arising from reorganization of the visual vocabulary of feeling. And I interpret the sense of this conflict as the beginning of a new link. This new link is between figuration and abstraction, or between time and space. I made the historic buildings as the interface of projection, because the most fascinating part is that it doesn’t belong to the present time but gracefully locates on the street. In short, I try to make an historical imagination through this work. And so-called history doesn’t only refer to words, it includes graphics, images, architecture, clothing, implements, music’s…ect. These visual signs just like the teleports for changing into different time and space. We will start our imaginative journey once we see them.
2010-09-24
時光流‧記憶體工作坊/ The Workshop of ''Time and Memory''
「時光流-記憶體」建築投影工作坊/ The Workshop
時間 8月30日 10:00 - 9月8日 15:00
時間 8月30日 10:00 - 9月8日 15:00
地點 臺博土銀展示館，4F會議室
工作坊講師：陳怡潔、柯智豪、葉俊慶、葉家銘
工作坊相關連結：
2010-06-18
Public art:雲影鎏光-/The Shadow of Cloud in the Gilding Light(public art project)
藝術家：林光沂、陳怡潔/artists: Kuang-i, Lin & & Agi Chen
「雲影鎏光」為座落於嘉義縣之國立新港藝術高中一件公共藝術，一件由我與林光沂老師共同合作的作品，林光沂在交趾陶此傳統工藝的成就精采，並且同時是新港鄉人氏，我在其作品發現「雲朵」在廟宇文化中扮演著重要的配角角色，卻未曾被當做主角加以表現，於是我擷取其作品中雲的造型予以重新詮釋，完成了這件總長280公尺的作品。在白天，作品充滿色彩的魔力和青春的活力，在校園空間展現出流動的趣味，並產生豐富的能量；到晚上，太陽下山後，燈光開啟，環狀的「風雨走廊」呈現全新的風景，為新港藝術高中創造了一個嶄新的氛圍。
"The Shadow of Cloud in the Gilding Light" with the length of 280m is one of the longest and largest public artworks at Taiwan. This piece is collaboration between Mr.Lin and me, in which tradition and modern art, new and old have the best communication and conversation.2010-02-14
Art work:函數色彩/Function Color
超能救世主/台北當代藝術館 The Heroic Colors/ Taipei MOCA
「函數色彩」系列作品的發展根植在個人對於卡漫世界這一虛擬對象的再度虛擬化，並以設定一個新的度量衡介面去鬆動卡漫角色的意義結構。發展過程中，由同心圓被置入原故事場景的圖像中可探出，被個人再度虛擬化的對象，亦不斷地將我個人予以虛擬化，斷裂的意義在具像與抽象的符號之間反覆著 “斷裂—重新搭設—結構—再度斷裂”的週期，標誌出一個沒有終點的空間關係。創作過程中，個人抽取出卡漫角色的色彩，將其化約為色彩矩陣、色彩同心圓，此一將色彩矩陣化、幾何化的過程，使色彩與角色造型脫離並再度置入於幾何造型之中，藉由我所設定的幾何介面的順序編列，色彩因而指向色彩的組合與結構。「函數色彩」系列作品中，「函數」雖然意味著序列化與規格化，但幾何化的色彩在表述自身色彩結構比例的同時，亦指向一個不在場的對象，因此可說是往返於一個還原的過程，而非呈現一個被還原的對象或一個還原的結果。作品的製作是由向量數位繪圖而成，在數位的向量空間中，作品的製作由視窗內的製作延伸到佈景式的展示空間，如同訊息的製作到發射到現場，數位媒體可複製且不受空間所囿限的材質特性，讓每個展示的現場成為了一個被訊息所包覆的現場，現場即為一個場景的搭設，如果說圖像可做為一個通往想像世界的窗口，那麼在個人作品中窗口已經化身為想像世界本身了。
The main idea of my serials works “Function Color” roots in a imagination of fictive cartoon characters— Is there any significance within the color of the popular characters? In the procession, I abstract the colors from the characters, and render the colors into a new geometric interface — the centric circle. Then I put the color centric circles back to the scene of the original cartoon. “Function” in my works means standardizing, the geometric form displays a color structure and points toward an absent subject at the same time, it’s like being back and forth in reducing procession. The color centric circle and the cartoon scene just keep cracking and making meanings to each other endlessly. The meanings in my works repeat a routine of “ cracking—rebuilding—structure—cracking”.“Function Color” is digital vector graphic. The print quality of vector space isn’t limited by the size. So the procession from producing to installation likes shooting message to every show place. If a picture or image could be a path to the imagination, then in my work, the image is the imagination itself.
Art work:趨光體/ The Phototaxis
驅光體－電影院/Phototaxis-The theater
物理世界的太陽光、以及各種照明光讓人的視知覺得以作用,進而分辨出了物理空間中物件的秩序、形態、質感,受到光的刺激,人對環境產生了視覺性的認知系統,同時也是一個以肉身為度量衡的知覺系統,在這個系統中我們對於所有對象的認知正仰賴光源,換言之,視覺畫面中的所有物件,皆為光的折射效果,若失去了光源,我們仍然可以用聽覺、觸覺、味覺等等去找到一個與世界對應的位置。然而,在數位世界中,所有的視覺物似乎脫離了這個仰賴著物理光源的認識系統,數位訊號透過螢幕、數位投影等機器所呈現的視覺畫面,雖讓我們能夠目視一切,但是這些訊號光,已不再僅是作為照亮的媒介,而是作為一種經由編碼後傳遞出訊號,這些光發散出的影像世界,與物理世界毫無聯繫,關了電源,人也就和它失去了聯繫。這樣的訊號光極具有吸引力,因為只要開了電源,我們就觸及了在另一個視覺畫面,一個可供人恣意切換的視覺空間。這種脫離肉身所度量之世界的快感,似乎成為了當代生活的主題之一,從隨身的手機、筆記型電腦、電動遊戲機到大眾交通工具、百貨公司、電影院的大屏幕,我們隨時處在一種不斷切換的狀態,當目光擺像這些訊號光,即切進了數位訊號的世界,我們即便共處在同一個物理空間,依然無法對視。在這些訊號光所組成的視覺裝置中,我們僅僅趨著光且凝視之。
The physical world, the sun, and a variety of illumination light to the role of people's visual perception and thus identify the physical space in the order of objects, shape, texture, by the light stimulation, people on the environment of the visual cognitive system, while is also a perception in the flesh for the weights and measures system, in this system, all objects in our awareness of being dependent on light source, in other words, visual images of all the objects are all run effects of light refraction, if the loss of light, we can still use auditory , touch, taste, and so to find a location corresponding with the world. However, in the digital world, all the visual things seem out of this relies on an understanding of the physical light source systems, digital signal through a screen, digital projectors and other visual images presented by the machine, though so that we can all visual, but the signal light, is no longer only as a medium for light, but as a kind of pass out through the encoded signal, the light diverges out of the image in the world, with the physical world there is no contact off the power, people, and it also lost contact. This signals a very attractive light, as long as the power to open, we touched on in another visual image, a vision for human space for arbitrary switching. This estrangement from the flesh of the world, measured by pleasure, seems to have become one of the themes of contemporary life, from the portable phone, notebook computers, video games to the public transport, department stores, big-screen movie theater, we stand at the a constant state of switching, when the eyes placed like these signal light, which cut into the digital signal of the world, we even live together in the same physical space, remains unable to visually. These signals are composed of light in the visual device, we have only the light and the gaze of the trend.
2010-01-23
Art work:再造物語/The Reproduction
再造物語－男與女，展出於伊通公園/The Reproduction-Male and Female, IT-Park
或許, 生活在數位化的生活場景中是一件很幸福的事情!
「再造物語」試圖透過模擬、演算的方式將果實與肉身等的立體狀態轉碼為扁平的圖式, 以“模擬”作為一種 “重構”的起點, 在觀看過程中,改變的不是數位生活場景的內容, 而是一種介入的方式、一種閱讀的方式、一種觀看的方式, 電子媒體化的世界並非取消了生命的內容物, 而是透過擷取、編碼、重組、儲存、系統化的過程再造一個延伸的世界。
Living in a digitalized environment could be a blessing of man.
In the process of seeing “Simulation” as the beginning of “recreation (reconstruction)”, the real changing is not the content of digitalized environment scene but the ways of reading, intervention and seeing. The world inside of the electronic media dose not cancel the meaning of real life but through the systematically process of data collecting, coding, reconstruction, information storage…etc to create an ever expanding world.
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