Outline - Chiao-Yen Hsu Solo Exhibition
廓－許喬彥個展
2014 . 02 . 15 ~ 03 . 16
廓－許喬彥個展
2014 . 02 . 15 ~ 03 . 16
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"Outline" is a way to form perceptual connections, while looking at a work of art, and it is also a concise way to describe my current creative model. There has always been an intricate connection between my art and space. Space is comparable to the physical body; in ways that it forms experiences, takes in and exports out things. This is my attempt to express the outline of memory, and for the outline I have left behind to echo inside the minds of the viewers and for them to form their own unique memory outlines.
With affordable everyday objects as my creative foundation, things such as charcoals, cardboard boxes, canvases, plastic bags are utilized, and with the drawing techniques of expansion and covering, visual reconstructions of abstract forms are conducted within the new spatial framework, with the new forms exposing the naked spatial context found inside human desires. From the various outlines I’ve created, the connections between people and space, space and materials act as the directional guide for perceptual memories. With the imagery of the site being simultaneously revealed, within the spacetime compilations are the conflicting juxtapositions of “preservation/dissipation” and “sense/sensibility”, while imaginative experiences of people’s everyday memories are also constructed. The Molding Room The Molding Room is an artwork that challenges the memories I hold for home and the conflicts I face for reflections of the environment I grew up in and the cultivation of knowledge. As I instinctively use lines to illustrate the familial space based on my memories, my rich emotions for home are constructed stroke by stroke, as the compilation of lines and spaces come to form that intimate dwelling place; however, it also seems quite distant and foreign due to the spacetime distance. The compiling duo realms presented in the piece are used to weave together the conflicting outlines I hold for the notion of home. The uncertain lines disrupt the unknown perceptual experience before the eye, and similar to the emotional tremors I experience as I face the two interlacing spacetimes, the uncertainties provoked by the changes of time are also insinuated. As I construct the vision I hold for home via each stroke, a memory blueprint constructed with limitless imaginations is also composed. Tomography– The Space of Plus Tomography– The Space of Plus is a conflicting outline composed of instinctive lines used to illustrate the different illegally constructed spaces scattered in the architecturalenvironment. Through the dissection and expansion of the façades, the compilation of lines and spaces come to weave together a perceptual framework composed of people’s sense and sensibility. A fictional space is reconstructed through the lines I employ, and at the same time, it reflects the disturbance and the “hyper reality” in people’s experiences. My Room My Room is a memory outline, which expresses a personal living space. Similar spaces are compiled and juxtaposed, as an attempt is made to search for my individualspeculativeapproach for the personal space. Comparing to the drawing approach of more rational and scientific style, this artwork applies organic and physical lines to the creative surface, and through continuously repeated strokes and smudging motions, an image of the true self is compiled together. Markers The artwork, Markers,uses the style of sketching to depict the illegal spaces outside of buildings, and it also appropriates political banners that are prevalent in the Taiwanese society as its stylistic imagery. The banners act as a metaphor for the ballooning desires and the fluctuation of power found in the realistic setting. As these spaces stemming from people’s desires gradually cover and wrap around their primary architectural structures, a sense of sensual aesthetics that is unable to be established in the environment is thus formed. These markers are similar to the various inflating organic forms in our immediate environment, and they also depict an ironic spatial domain and are concentrations of the pathological sickness dwelling in the modern setting, while traces of humanity found in the complex reality also revealed. 就在藝術空間在嶄新的一年之初，首檔展覽推出新銳藝術家──許喬彥，1990年出生於台灣嘉義，目前就讀台南藝術大學造型藝術研究所，2012年開始嶄露頭角獲『新北市創作新人獎優選』，2013年分別入圍『桃源創作獎』及『台灣美術新貌展』，其創作長期記錄著我們生活中諸多正在進行與消逝的記憶與痕跡。 此次於就在藝術空間的初試啼聲，展覽名為「廓」，其意源自於屋舍的牆頂而又延伸指稱「物體的邊緣」，此一字也簡述了藝術家目前的創作型態。挾其年輕充沛的創作活力，本次許喬彥個展將展出四件空間裝置以及一件現地製作作品。展覽開幕當天也將邀請到資深藝評人──王柏偉與藝術家進行座談，希冀以其專業藝評的角度與藝術家進行對話，透過深入淺出的解析使觀眾對於許喬彥作品有更進一步的認識。 許喬彥的創作總模擬著台灣生活景觀中常出現的鐵皮建材、加蓋屋頂，這些形象對於我們並不陌生，透過炭筆的描繪將尋常可見的建材圖像框取於帆布或塑料上，其原本剛硬冷調的性質卻呈現出一種疲軟樸實的質地。這些被繪製出的各式輪廓，如同違章建築般地組合交錯蔓延，卻以一種簡約安靜的型態裝置於展覽空間中，隱含著人們對於環境的支配也承載著我們對於習常生活的想像與經驗。 作品「斷層掃描-加的空間」憑藉著直覺性的線條描繪出環境中各式違章建物的空間輪廓，在線與線、空間與空間的積累中重新建構起虛實的假想空間，同時映射出擾動人們經驗中的「非常現實」。而作品「標記」也以素描的方式描繪違章空間，並且挪用台灣社會中充滿權利政治的旗幟作為造型意象，這些標記如同我們環境裡膨脹的各色有機形體，分劃出屬於各自矛盾的空間界線，隱喻著現實環境裡人性面對慾望擴張的權力消長。 以炭筆在覆蓋整個牆面的塑料上描繪著記憶中的家庭空間，現地製作作品「塑室」每一筆畫都建構起他對於家的濃稠情感，那個曾最親密的居所似乎因時空距離又顯得遙遠陌生。其中層疊的兩個時空回憶及面對生長環境的反思與知識養成的衝突。而作品「我的房間」則試圖在畫面中找尋個人對於自我空間的思辯式樣。以身體性的有機線條對應於畫板創作，試圖在不斷重複的筆觸、擦拭動作中，堆疊出隱現於其中的真我形貌。 |