【自轉之1】透視創作思維

 

圖說／將原本的小模型放大為實際尺寸；過程中依照放大後的視覺效果不斷調整作品的細節。

   

透視創作思維──林信榮與《自轉》

口述／林信榮    文字整理／陳怡卉

陳：作為公共藝術創作，在瞭解設置位置和人文背景以後，具體的作品究竟是如何在腦海中成形呢？

林：不同的藝術家接觸到相同條件的時候，可能會被不同的面向所吸引。依照基地的場域特性和人文感受〈譬如說這次的社會科學院〉，去找到或者應該說「挑選」出所要詮釋的部份；再運用藝術家各自擅長的創作方式催化出作品的樣貌。

最重要的應該是──必須將內心的想法歸結為所要傳達的意念，並且適當的具體化；最終，忠實呈現自己的思維。##ReadMore##

就我自己而言，創作的目標是為了讓作品引發想像空間；對環境或生活在這個環境裡的人產生正面的影響。更精確的說，其實不是引導別人認知某些事情，而是觸動新的想法或情感。因為即使接觸同一件作品，每個人的想像不同，所產生的觀點也可能不同。

  

  

陳：回到這次的作品上，《自轉》又是如何與「社會科學院」作連結呢？

林：「自轉」這個詞彙經常被用來描述物理學的轉動，但我想將這裡的「轉動」進一步轉換到另一個層次去。社會科學是探究人類社會各個層面的知識領域；因此作品所想表達的是──地球因為人類的存在而產生另一層面的轉動。

首先，我直接用色彩和表面紋理帶出地球的樣貌；再運用造形的方法，以人物側臉的符號將球體錯位成上下兩個部份，架構出陰陽兩極的意象。藉著這樣的造形來隱喻人類社會的「運轉」，還有它發展、運行的各種面貌。

  

  

  

陳：所以說，你在創作上有經常關注的事物和慣用的創作方式嗎？譬如說那個經常出現在你作品裡的人物側臉。

林：小時候，我們家是獨自一戶人家生活在鹿谷山區，周圍沒有其它人家；我記得那個時候最害怕的就是飛機，因為事實上大自然沒有這種東西。正因為成長的環境使然，我對自然的觀察和體認一直有深刻的感受；也始終相信「人處在自然環境中，便是自然的一體」。所以，經常運用自然的造形或符號，來表達人與人之間、人與自然之間的關聯。

當然，你所說的人物側臉的符號是延續近二十年來的「反省」系列而來的，來表達這個設置計畫的核心「人」；一方面也提醒我們應當善待僅有的家園「地球」！

另外，因為創作經歷的關係，雕塑當然是我最擅長的創作方式啊（笑）！
  

  

  

陳：那麼，接著我們就來談談如何以雕塑的角度切入公共空間吧！

林：……你這個問題實在很大（笑），我就用這件作品的架構來回答你的問題！

首先，雕塑常常討論空間的感受；譬如說在這裡我運用了自然、幾何、自然、幾何的線條去轉換空間的性質。這個作品坐落在建築物中庭，就是在四周建築物剛硬的直線中放入一顆圓球；作品上那些自然的線條，在這裡不但可以軟化場域的調性，還有集中視覺焦點的效果。

另外，大型的作品不外乎要考量尺度跟環境的關係。事實上作品的大小是不跟量感成正比的；適當的尺度才能在空間中產生好的能量，也才有好的量感！而我的想像通常是──人在作品周圍流動的時候，能感覺到最舒適的尺度，就是最剛好的尺寸。

再來是運用造形的方法，將視覺語彙輸入作品中。圓形本身是一個繃緊的線條；但是當側臉的符號將球體錯置以後，會因為視覺上的力量而產生推動它的動態。

最後一個部分是講求肌理的調和。雕塑就跟環境一樣，是一個立體的物件，具有實體的性質；除了能在不同的角度和光線下產生不同的視覺變化，最重要的還有觸感！利用表面凹凹凸凸的紋理，吸引人靠近它。就像這次的肌理做的很漂亮吧（笑）！希望以後大家能盡量觸摸它、親近它。


  

A Perspective on Creative Thinking―Lin Hsin-Jung and “Rotation”

Narrative / Lin Hsin-Jung Article layout / Chen Yi-Hui

Chen: After learning about the installation location and human background of the public artwork, how does the actual work come together in your mind?

Lin: Artists will pursue different directions depending on their human feelings or the features of the location even though they are exposed to the same conditions. Take the College of Social Sciences for example, I will find or, maybe I should say, choose those things that I want to interpret and then use the creative methods that I am skilled at as an artist to summon forth the look of the piece.

The most important thing is to funnel your inner thoughts into the idea that you want to express, give it a suitable embodiment and then finally honestly display your own thinking.

For me, the goal of art is to let the work inspire one’s imagination and create a positive effect on the environment or the people living in the environment. More precisely, it is not about leading others to learn something but about coming into contact with new thoughts and feelings. Despite being in contact with the same work, everyone has their own imagination so how each person views it may be different.

  

  

  

Chen: Looking back on this work “Rotation”, what connection does it have with the College of Social Sciences?

Lin: The word autorotation is commonly used to describe rotation in physics but I was actually thinking about transferring the concept of rotation to another level. Social science is about exploring fields of knowledge at each level of human society. So, in this work, what I was trying to express was the Earth has created another level of rotation due to human existence.

First of all, I directly used color and surface texture to convey the Earth appearance and then applied contouring methods and the profile of a human face to stagger the upper and lower sections of the globe and form a yin-yang image. Through this sculpting, I create an image of human society “rotation” and the various forms of its development and movement.
  

  

  

Chen: Are you saying that there are things you tend to focus on and creative methods that you habitually use? Like you said the profile of the human face commonly appears in your work. 

Lin: When I was young, my family lived way out alone in the mountains in Lugu. There were no other people around. At that time, the thing that I was most afraid of was airplanes because those kinds of things don’t exist in nature. Since I grew up in a natural environment, I have always had been deeply affected by my observations and experiences in the natural world. I firmly believe that man exists in a natural environment and therefore is a part of nature. So, I commonly use natural forms and symbols to show the connection between people and between humans and nature.

Of course, the face profile symbol that you speak of is carried down from the Reflection series from about 20 years ago. It is to express this core humanity of this installation plan. In one respect, it also reminds us that we should do our best to protect our home, the Earth!

In addition, due to my experience in the field, sculpture, of course, is the type of artistic expression that I am best at (smiles)!
  

  

  

Chen: Now next let’s talk about public space from a sculpture perspective!

Lin: …You asked a really broad question (smiles). I’ll use this work as a framework to answer your question!

In sculpture, we often talk about the feeling of space. For example, it is said that I used nature, geometry, nature and geometric lines to transform the properties of space. This work is situated in the courtyard of this building. A globe is placed among the hard lines of a four-sided building. Those natural lines on the work not only soften the tonality of the site but also have the effect of concentrating the visual focus.

In addition, scale and relation to the environment are integral parts of large-scale works. In reality, the size of the work is not directly proportional with its mass. Only the right scale can produce good energy in the space and create a good sense of mass! I usually visualize the perfect scale as the most comfortable scale that is felt by people when moving around the work.

Then, modeling methods are used to input visual language into the work. The sphere itself is a taut line. After the face profile symbol is inserted into the globe, the visual force creates a motion pushing upon it.

The final place of concern was texture and harmony. Sculpture is just like the environment. It is a three dimensional object with substance. Besides creating changes in visual effect at different angles and light conditions, texture is also essential! Using a bumpy texture on the surface can attract people to approach it. Just like the skin texture for this work. It is quite beautiful! (laughs) I hope that everyone will be able to get up close to it and touch it freely.
  

  

  

  

貳零壹零年拾月／開幕前夕特別報導
 
 
 
 
作品名稱：自轉
材質：黃銅、不鏽鋼
尺寸：高150、寬150、深168(cm)
設置地點：國立成功大學_社會科學院

作品構想：作品由「地球自轉」為發想，以「人物側臉」為符號元素。藉由量體錯位的光影與球形產生「自轉」的意象，並且構成陰陽兩極；闡述人類社會發展、運行的面相。 
 
 
 
更多照片：Rotation
延伸閱讀：「反省系列作品」的初始
【自轉之2】二元辯證的自轉思維
【自轉之3】自轉之軸．圓之縫隙
【自轉之4】靜謐之力
【自轉之5】超越常變．勁健有容