Stone
Chan Shih-Tai Solo Exhibition
石子－詹士泰個展
2022.02.26 - 2022.04.02
2022.02.26 - 2022.04.02
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展覽介紹
詹士泰的石雕造型簡約，含有現代主義建築線條，仔細觀察，在理性的幾何形狀內卻有藝術家手工雕刻紋理的溫暖，詹士泰對於石材的敏銳度與環境中的感知直覺地流入他的創作，他放鬆的讓時間與環境自然地、自在地引導進石子裡，也許包括那天午後的斜影、來回穿梭的汽機車聲或刷過竹林的微風。猶如走路，藝術家身體的動作呼應著當下的思緒並延伸在一段時間裡。在有限的時光中，將部分的記憶與思慮賦予在他手邊的刻痕上。藝術家認為所有的石材都是靈感的源泉，看似不完美的瑕疵，變成了意想不到的相遇，想像了無數的可能性。 傳統雕刻通常先從製作模型開始，再選擇石材將模型放大複製在石頭中。隨著時間，詹士泰意識到創作靈感與發想在模型製作階段最能夠表達，當他將模型複製到石頭上，他已經失去了創作的衝動。因此詹士泰決定不再使用模型，讓他的想法直接從與石材的對話中演變。 詹士泰的創作思考如何用最微妙的動作、幾乎非侵入性的方法，精緻又克制的手勢，創造出簡單純粹的美學精神。藝術家將他的創作過程描述為一種「梳洗」形式，梳洗意味著一種準備狀態，含有洗、清、梳和穿的行爲，這些帶有儀式感的狀態形容在詹士泰的創作上，相似一層層精細的顯露出石頭的特質，同時也在石頭中賦予藝術家當下感受的痕跡，透過雕塑形式重新描述石雕的豐富面向。 Introduction: Chan Shih-Tai’s stone sculptures are based in his philosophy of allowing his memories, his sensory perceptions of the environment, and the characteristics of the stone to inform his sculptural form. Chan considers all stone to be a source of inspiration, what seem to be imperfections become unexpected encounters, where Chan imagines a myriad of possibilities. At first glance his sculptures resemble modernist architectural forms, on closer inspection they contain the warmth of the artist’s hand-carved textures. Chan’s highly observant and intuitive creative process allows room for sensations from the environment to flow freely into the stone. An oblique afternoon shadow, the bustle of passing traffic, or the breeze brushing through a bamboo forest, these sensations guide his movements, leaving traces of his memories carved into the stone. Sculpture production conventionally involves making a scale model of the design first, then selecting the stone and sculpting a replica of the model into the stone. Over time Chan felt the rush of creativity and expression happened solely during the model making phase, and by the time he was replicating the design into stone, his creative interest had vanished. This led him to a turning point in his creative practice – he decided to skip the model making phase entirely, and work with stone from start to finish, allowing his ideas to evolve directly from a dialogue with the stone. Chan Shih-Tai developed a subtle, almost non-invasive approach, consisting of delicately restrained gestures, adhering to a purist aesthetic spirit. Chan describes his technique as a form of “grooming”; to groom implies a state of preparation, in which we associate with acts of washing, cleaning, brushing, and dressing; ritual-like processes that can be likened to Chan’s careful peeling back and revealing the stone’s inherent features, as well as augmenting the stone with his own expressive reinterpretation, portraying the complexity of stone carving through his striking subtlety and simple sculptural forms. |