Forms . Separating . On Site
Exhibition date｜ 1999
Exhibition venue｜Taipei Fine Arts Museum
This exhibition takes place at Taipei Fine Arts Museum. The creative theme is the cycle and expansion of convergence and divergence. In terms of creative format and material expression, I find inspiration in the granite floor at the exhibition venue, and use white granite as creative material in consideration of the overall integrity, as I aim to create a complete white space, and enable the works to blend into the specific atmosphere onsite to compose a march-fantasy about men, nature, and space, attempting to recreate a complete spatial energy of sculpture.
First, at the center of the venue, which is 25 meters in length, 15 meters in width, and 4.5 meters in height, is a 3x6m granite comforter: a stone comforter carved out of 200 pieces of 30x30x15cm heavy and hard granites. “Stone comforter” has the imagery of covering, soft, and warm, implying a joyous fantasy of birth. The large comforter features a pattern with a tender tempo, and a pair of feet that seems to represent a fantasy and prolonged state of dreaming. However, the cold granite and the allusion of “bed” seem to suggest death, and the comforter suddenly feels like a coffin; especially the pair of life-size human feet, they are existing fragments of an individual, and the invisible parts of the body have blended into the space, or perhaps into a perpetual state of on-going disappearance?
To the right of the comforter are ten portraits in varied forms. Their heads are blurry, but each has own facial expression; some have their faces hollowed out, some are squeezed and deformed, some cut and dissected, and some removed and disappeared. They stand on granite pillars, which seem like monumental symbols of sentiments custom-made for mankind.
Behind the stone comforter is a dismembered miniature “Torso” that emerges above stone powder. Like the concept of the “feet,” it also conveys the existence of an individual, and the invisible parts seem to have disappeared in thin air, yet also fused into the works in the venue for a dialogue. This phenomenon is also expressed through the somewhat surrealist work, “Hand,” which obviously exists in an opposing and double semantic simulated state of growing and disappearing, or stretching and shrinking, expressing an uncertain and changing emotion of anxiety. In addition to a series of vocabulary of forms and separation, the “Grid Structure,” to the left in the rear end of the venue is a structure with rational framework that features a skeleton on the support, perhaps conveying the idea that men are constructing the ivory-tower-like structure of our own civilization? Also, there are several slightly modernist granite cubes in the venue; their surfaces each features fine images of mountain, water, cloud, house, and ox-head—symbols like fossils. This is a feeling of gradual departure and disappearance, and the entire venue, thus, presents a white, delicate, light, and blurry scenery, as the cubes blend and melt into the white floor.
The elements mentioned above are not independent elements. Their placement and arrangement in the exhibition space, and the white granite plate as the platform for all the works, attempt to guide viewers to explore an alternative way of reading and interpretation when admiring the works onsite; this is not just a ritual, but an “onsite” of the transforming and changing human life and nature.