Puzzle and Puzzle (sponge)

2004 & 2006

15×7×2.5cm to15×15×2.5cm 

porcelain (slip casting), fabric, sponge (silkscreen printing)

〈拼圖〉和〈拼圖〉(海綿版)

2004年 及 2006年 

15×7×2.5cm 至15×15×2.5cm 

白瓷 (注漿成形)、布、海綿 (絲網印刷)

This series of print pieces is a further development of my previous work in slip-casting ceramics. It seeks to explore the meaning and potential for replication, as inherent in clay moulding and printmaking. 

 

While a deliberate intent has been made to imitate and stay “faithful” to the original ceramic work, a different medium (fabric) has been chosen to “re-present” the 2D and 3D versions of the original piece. 

 

Traditionally, for artists to distribute their works to a wider audience, they have to convert the work into prints. But as technology advances, there is now no shortage of “replicating” instruments available for the public. At this very moment, are you replicating?

 

Are moulding and silkscreen printing necessarily mechanical, requiring meticulousness and precision? Within the boundaries of my given media, I attempted to push my spontaneity to its limit.

本系列作品為多年前一模製注漿陶瓷作品之延伸。我把一小件的考智力立方體拼砌盒放大,製成發泡膠模型,以石膏製模進而作注漿成形,製成陶瓷作品〈拼圖〉。以〈拼圖〉作藍本,再身體力行的以版畫形式進行再造與複數性之經驗。

我試著從陶藝中的模製作品到版畫的一版多畫,探索這兩個媒介複數性的可能與意義。

 

再造

這一系列的作品中,我著意地去模仿原有的陶瓷作品,盡可能令其造型、顏色甚至其厚度也「忠於原作」,只是以另一物料「如實地」由平面到立體重現其原貌。

在製模/版至作品誕生的整個過程中,我常在想:究竟要耗費多少光陰與資源才得到一件成品?當中有多少是有意義的「犧牲」?意義在何?創意又是否在其中?當中,轉移、轉移再呈現的概念不時在我腦海來回反覆運轉、運算。如果我說內裡根本沒創意可談,只是一件沒有「原創」的像商品的非商品,像玩意的非玩意,這又能成立否?

在作品〈拼圖〉(海綿版)中,我嘗試以海綿-於陶藝和版畫創作必不可少之物,作為成就了整個作品的支撐物,再以印妥的布料加以縫製並包裹,然後隱藏。

 

複數

以前的畫家為要將作品流通於大眾,會將作品圖像製成版,然後大量印刷。現今科技發達,圖像複製之工具俯拾皆是,我們隨時也能以攝影工具把所見拍下,用作記錄、重現……這一刻,你在複製嗎?在現今角度看來,複製的意義是多了甚麼?又少了甚麼?我以〈拼圖〉(海綿版)去「複製」〈拼圖〉,既不能「如實報導」又不能「廣為流傳」,還談得上是版畫嗎? 

 

模製陶瓷、絲網印刷都是較機械式、講求嚴謹與準繩的技藝?

Shell

2012

Foam, paper boxes, fabric 發泡膠、紙盒、布

150×70×25cm to150×150×25cm 

By replicating the physical form, the meaning changes accordingly as well.

透過複製,內涵也有所改變。