2024-04-06 ─ 2024-05-25

2024張可昱創作個展-維度游移

維度游移

創作論述|

繪畫或影像紀錄三維空間，並將描摹物「壓縮」轉化於二維平面；這次的雕塑創作在「壓縮扁平化」、「解壓縮還原」中往返，游移在二維、三維、四維（時間）之間，創生變化中我希望找尋新的形式可能。
˙ 作品「守一」藉由相異的面向（頂視盤腿與正、背立面並陳），身軀因多時視角而錯曲，探討軀體、心神的分離與合一。
˙ 雕塑「乾」中，人和馬的體量被壓縮扁平化後曲折重構，外力瓦解了物質的堅實性質，讓形態有了各種可能性，一切輕盈了起來。乾為天，健行不息，其代表動物即為馬，在形態上人是馬的氣息？抑或馬是人的想像？兩者之間對話、傾聽流轉不已。
˙ 另外於雕塑「重力」中，銅條（材料）在物理作用下自然形成弧線，這重力來自地球引力，而女性恰為mother earth的化身。
上述無論是人為的扭曲，或是物理現象產生的扭曲，對人的覺知與思維上皆產生張力，這力量的體現對我而言便是雕塑性所在。

古典藝術（醉心於古希羅時代藝術的表現）注重和諧、平衡、比例等的美學表現；現代藝術（概莫1900前後）區隔傳統，帶著實驗精神，權重差別化的呈現；當代藝術（二戰後大約60年代以降）流著反動血液，側重闡釋歧義的可能。縱然時空更迭，藝術觀念不斷遷衍，人們欲溝通想表述的心恆常不變，我期待作品的自明性在交流中有會心的一刻。

Both painting and film serve to capture the three-dimensional world by condensing it onto a two-dimensional surface. Similarly, my sculpture endeavors to discover fresh forms through the manipulation of dimension - compressing, decompressing, and releasing objects from a flat plane.

˙ The title of the work: Oneness
In「Oneness」, I distort the figure's shape to present various aspects at the same time. This exploration delves into the shape and form of the figure, inviting viewers to perceive it from new perspectives.
˙ The title of the work: Qian
The figure and the horse are subjected to compress, causing their volumes to flatten. This external force reshapes the material, yielding a multitude of potential forms. The once-massive volume sheds its weight, transforming into a lightness. "Qian" serves as a metaphor for the perpetual movement of the Universe. Is the man but a breath of the horse? Or does the horse exist within the man's dream? This open-ended question echoes endlessly, inviting contemplation.
˙ The title of the work: Gravity
Bronze bar has formed a natural arc due to the force of gravity, stemming from the mass of the Earth. The female figure also symbolizes Mother Earth.