Phase Transition of the Story
寓言的相變 盧之筠 /永岡大輔聯展
2010.12.18~01.16
寓言的相變 盧之筠 /永岡大輔聯展
2010.12.18~01.16
With the creation seem to be a fable of symbolism and metaphor, Phase Transition of the Story is a theme exhibition by Taiwanese artist Lu Chih-Yun (Winner of Yoshitomo Nara Prize in GEISAI TAIWAN2009) and Japanese artist Daisuke Nagaoka (Winner of sculpture works by the artist tells a short story. Pulled out from their original Young Art Award 2009) that transforms the media in use into a work exhibiting visual effects totally different from essence thereof. Fragments of memories and fictitious plots interlace and affect with one another producing surreal illusions in the gallery space.
Inspired by Lu Chih-Yun’s daily lives and her inner world, each piece of the functions, antique furniture and home appliances are principals of her series of works in the exhibition with handmade characteristic-fit installations added into each. Under the seemingly sweet yet illusionary visual effects, scenes of home life memories interlacing with subconscious imaginary world are presented.
In Daisuke Nagaoka’s animations and drawings captured the idea of “evidence of living.” It is on paper in the repeated circling and erasing motion of his pen and eraser that the formative layers of his work and actions begin to emerge and become a moving image, which is like the mechanism in metaphor. The expression of this metaphor may at times emerge as the form of a living thing, or a gleaming vista, stretching out into an endless expanse like a road movie. In the evidence of accumulated and repeated actions it is possible to project a form for our spiritual activities.
「寓言的相變」盧之筠 /永岡大輔聯展
“寓言的相變”為台灣藝術家盧之筠(2009GEISAI TAIWAN 奈良美智獎)及日本藝術家永岡大輔(2009Young Art Award 得主)兩人的主題展。兩位藝術家的創作像是具有象徵、暗喻的寓言故事，使用的媒材都在他們的轉化下，成為視覺與本質完全不同的作品。這些一段段的記憶與虛構的故事情節交錯感染之下，製造出超現實錯覺的展覽空間。
盧之筠的每一件雕塑作品各是一個小故事，它們皆取材自日常生活及個人的內心世界。在這次展出的系列作品裡面使用了骨董家具、家電作為主體，配合各自的特性，將物件原本的功用抽離，之中加設了手工風格的小裝置，在外表看似甜蜜夢幻的視覺效果之下，整體呈現家庭生活記憶，與淺意識想像世界交錯的場景。
而永岡大輔的動畫及繪畫在於捕捉「生活證據」。透過他的筆在紙上重複著繪畫及橡皮擦擦拭的動作，作品中的構成元素和動作漸漸地開始浮現變成一種影像，像是某種的機制甚至是種隱喻。這種隱喻有時會透過活靈活現的生物表現出來，有時則是一幅隱約的景致，彷彿電影中的公路，不斷地往前延伸。而這些明顯存在的東西，正巧反映出我們心靈活動的形式。
::本場地獲財團法人國家文化藝術基金會贊助::
Inspired by Lu Chih-Yun’s daily lives and her inner world, each piece of the functions, antique furniture and home appliances are principals of her series of works in the exhibition with handmade characteristic-fit installations added into each. Under the seemingly sweet yet illusionary visual effects, scenes of home life memories interlacing with subconscious imaginary world are presented.
In Daisuke Nagaoka’s animations and drawings captured the idea of “evidence of living.” It is on paper in the repeated circling and erasing motion of his pen and eraser that the formative layers of his work and actions begin to emerge and become a moving image, which is like the mechanism in metaphor. The expression of this metaphor may at times emerge as the form of a living thing, or a gleaming vista, stretching out into an endless expanse like a road movie. In the evidence of accumulated and repeated actions it is possible to project a form for our spiritual activities.
「寓言的相變」盧之筠 /永岡大輔聯展
“寓言的相變”為台灣藝術家盧之筠(2009GEISAI TAIWAN 奈良美智獎)及日本藝術家永岡大輔(2009Young Art Award 得主)兩人的主題展。兩位藝術家的創作像是具有象徵、暗喻的寓言故事，使用的媒材都在他們的轉化下，成為視覺與本質完全不同的作品。這些一段段的記憶與虛構的故事情節交錯感染之下，製造出超現實錯覺的展覽空間。
盧之筠的每一件雕塑作品各是一個小故事，它們皆取材自日常生活及個人的內心世界。在這次展出的系列作品裡面使用了骨董家具、家電作為主體，配合各自的特性，將物件原本的功用抽離，之中加設了手工風格的小裝置，在外表看似甜蜜夢幻的視覺效果之下，整體呈現家庭生活記憶，與淺意識想像世界交錯的場景。
而永岡大輔的動畫及繪畫在於捕捉「生活證據」。透過他的筆在紙上重複著繪畫及橡皮擦擦拭的動作，作品中的構成元素和動作漸漸地開始浮現變成一種影像，像是某種的機制甚至是種隱喻。這種隱喻有時會透過活靈活現的生物表現出來，有時則是一幅隱約的景致，彷彿電影中的公路，不斷地往前延伸。而這些明顯存在的東西，正巧反映出我們心靈活動的形式。
::本場地獲財團法人國家文化藝術基金會贊助::