國立成功大學社會科學院／公共藝術作品《自轉》coming soon ...

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成大社科院公共藝術作品11月2日上午趣味揭幕

揭幕典禮

時間：11月2日〈二〉上午11:30

地點：力行校區 社會科學院中庭

內容：音樂演奏、揭幕儀式、作品介紹、朗讀表演、茶會

    

由藝術家林信榮先生所創作，國立成功大學社會科學院的公共藝術作品《自轉》，將於11月2日〈週二〉上午11：30，於成大力行校區社科院趣味揭幕。預定舉辦音樂演奏、朗讀表演、茶會和藝術家作品介紹……等活動。現場備有團隊精心策劃的《自轉》筆記書提供索取，歡迎大家前往現場共襄盛舉。

  

  

  

   

11月5日下午將舉辦成大社科院公共藝術作品講座

  

成大叩門ECKO咖啡時間

時間：11月5日〈五〉下午3:30至5:00

地點：自強校區 奇美咖啡館

講題：透視創作思維──從《反省》到《自轉》

講者：藝術家林信榮先生

  

緊接在揭幕之後，將於11月5日〈週五〉下午3:30至5:00，

於成大自強校區奇美咖啡館進行一場與民眾面對面的講座。

歡迎有興趣的民眾和師生共同分享與對談。

  

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透視創作思維──從《反省》到《自轉》

  

就個人這些年來在台灣所接觸的公共藝術的經驗看來，社科院的《自轉》的難能可貴處，在環繞公共性議題的公轉運行無礙的同時，延續與保有林信榮作為藝術家本身創作的自轉能量。〈東海大學美術系助理教授 張惠蘭〉

   

就如同他所說的：「……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。」對於林信榮來說，公共藝術首要回應基地的場域特性和人文感受，此外，他也將自身思考的能量鎔鑄於每一件創作之中〈包含公共藝術〉。 

   

除了「公共藝術創作的過程」、「藝術家面對公共藝術創作的的思考」之外，我們也將在講座中，看見他的「反省系列作品」如何發展與轉化。

  

  

  

  

p.s.鄉親們大家有空的都來捧捧場嘿！

揭幕當天有奇妙的朗讀表演，
和很緊張的藝術家作品介紹。
(歡迎大家一起來為Lin捏一把冷汗吧！)

現場可領取做到眼睛都歪了的精美筆記書一本，
以及Celia特大號擁抱一次。
(醬有沒有很夠誠意！)
 
 
 
 
貳零壹零年拾壹月／活動預告
 
 
 
   
更多照片：Rotation
延伸閱讀：「反省系列作品」的初始
【自轉之1】透視創作思維
【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

【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

【自轉之2】二元辯證的自轉思維

圖說／作品在環境中所形成的氛圍

  

  

  

  

二元辯證的《自轉》思維──林信榮為成大社科院設置的公共藝術

文／蕭瓊瑞（國立成功大學歷史系教授兼藝術中心主任）

在個人近年接觸的公共藝術設置案中，林信榮為成大新建社科院大樓所創作的作品──《自轉》，是相當具有藝術品質的一件。所謂「藝術品質」，就在形式的單純、內容的豐富，以及主題的貼切。##ReadMore##

成功大學以工學院起家，繼文、理、管、醫之後，社會科學院的設立，自是成大邁向完整綜合大學的重要指標。

社會科學基本上是研究和「人」有關的科學，尤其是有關人類文明當中的制度和思想。不同的制度和思想，沒有絕對的對錯、良窳，而在於她的適切性。林信榮的《自轉》一作，以球型為基本造型，一如宇宙初成時渾沌旋轉、無邊無際的狀態，這樣的造型，極易讓人聯想起中國古代「太極」的思維與圖像；但包容在這個單純球體當中，可以明顯看到中間錯位、分裂為二的一條界面，那其實隱藏了一個人臉側面的造型。這樣的造型，也正突顯出社會科學以「人」為核心的學術本質。

以人臉為界面劃分開來的世界，是二元辯證的存在。這二元辯證，可能為陰陽、善惡、男女、正反、向背，乃至福禍……等等的思維，但永遠不離實為一體兩面的基本道理。

全作以翻銅鑄成，表面微微凹凸的質感，加上銅綠的處理，讓視覺和觸覺有更豐富的內涵和聯想；錯位的界面，以LED燈賦予微微的亮光，更讓作品充滿神秘的氛圍。

林信榮的這件《自轉》，不以說明性的圖像取勝、不以奪目的色彩取勝，而是在悠悠的微光中，散發一種引人哲思的內蘊魅力。《自轉》錯位的角度，也一如地球軸線的傾斜，因傾斜而有四季的變化、萬物的生長，一如社會科學之既尋真理、又容異端的學術精神。

在較多垂直、平行線條的方形建築體中，《自轉》的球形，沈穩、凝定、圓融、素樸，又富生命動力與智慧之光，應是一件成功的藝術佳構，值得推薦。




The Dialectical Dualism Thinking Behind “Rotation”―Lin Hsin-Jung’s Public Art Installation at NCKU’s College of Social Sciences

Text / Hsiao Chong-Ray （ Art Center Director and History Professor, National Cheng Kung University ）

Of the public art installations that I have had contact with in recent years, Lin Hsin-Jung’s sculpture Rotation that was created for the newly constructed College of Social Sciences at the National Cheng Kung University ( NCKU ) is a quality work of art. This work has artistic quality due to its simple forms, rich content and appropriate subject matter.

NCKU started out as an engineering college. Following the establishment of humanities, science, management and medicine colleges, the founding of the College of Social Sciences represents a major step forward in NCKU’s journey towards becoming a comprehensive university.

The College of Social Sciences is basically the research of human-related science especially systems and thought concerned with human civilization. There is absolutely no right or wrong in different systems and thought just appropriateness. In Lin Hsin-Jung’s work “Rotation”, a sphere is used as the basic shape. Just like the chaotic rotation and boundless space at the beginning of the universe, this type of form easily brings to mind the thinking and image of taichi from ancient China. But contained in this simple globe, we can clearly see a division at its center which is a boundary that separates the sphere into two. The profile of a face is actually concealed within. This type of form underlines the central role of humans in the academic field of social science.

The use of a human face as the boundary line to divide up the world reveals the existence of a dual dialectic. This dual dialectic may be yin/yang, good/evil, male/female, positive/negative, support/opposition and even fortune/misfortune but never leaves the basic truth that everything has two sides.

The entire work is made of turned copper. Its surface has a slight bumpy texture which is treated with verdigris. This makes the visual and tactile effect more deeply intense and connectable. At the staggered edge, LED bulbs give off a faint light that lends a mysterious atmosphere to the work.

Lin Hsin-Jung’s work “Rotation” does not succeed with its declarative symbols or with its eye-catching color but by the intrinsic charm of the entrancing faint light that elicits philosophical thought. The slanting angle of “Rotation” is like the tilt of the Earth’s axis. The changing seasons and all things under the Sun depend on this tilted axis just like the search for truth by the College of Social Sciences and the academic spirit of heterodox thought.

Compared to the vertical and horizontal lines of the rectangular building, “Rotation” is spherical, composed, collected, harmonious, simple and imbued with vitality and wisdom of light. It should become a successful art installation that is worthy of recommendation.

  

貳零壹零年拾月／感謝蕭瓊瑞老師的評論







更多照片：Rotation
延伸閱讀：「反省系列作品」的初始
【自轉之1】透視創作思維
【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

【自轉之3】自轉之軸．圓之縫隙

圖說／在「迸裂」與「開啟」的意象想像下，觀者經驗一種既驚心又期待的心理感知。

  

自轉之軸．圓之縫隙──淺談林信榮的《自轉》

文／羅秀芝（藝術工作者）

「自轉」是物體沿著穿越自身質心的自轉軸，而自行旋轉的一種運動。貫穿物體最核心部份，亦即中心點，而支撐此運動的「軸」，是維持此物體「自轉」運動之恆定狀態的關鍵。

「圓」通常意味著某種周全或完滿的意思，也暗示一種通達與流暢。圓形物體上的「裂縫」則呈現某種待修補或開啟中的狀態。##ReadMore##

根據林信榮自述，此件大型雕塑《自轉》，乃以地球的自轉做為創作發想的原點 。細觀其外觀，以黃銅為表面材質，並製造類似地球般的表面肌理與色彩的作法，的確刻意製造地球意象。然而，此圓球體，卻「裂成」兩半，其「裂縫」線條，則以林信榮慣用的藝術語彙「人之側臉輪廓」呈現，形成上下兩個側臉，一陰一陽倆相對的狀態。此外，這兩個「側臉」又稍稍錯開，彷彿，圓球體對半切斷，並左右滑開，呈現某種「開啟」的狀態。

於是，在「迸裂」與「開啟」的意象想像下，觀者經驗一種既驚心又期待的心理感知。

林信榮以不鏽鋼材質，處理兩個側臉輪廓的線條，亦即被切開的球體上下兩半，以不鏽鋼材質相接。因而，在側臉輪廓線條錯開處，映射著周遭的環境景象與天光雲影，同時，兩個側臉也因而始終反照著彼此，形成某種「鏡像」與「對照」的效果。此外，側臉輪廓線條與球體的自轉軸，恰恰形成垂直狀態，亦即，此自轉軸穿過之處，正好也就是正常人腦中心點所在的位置。因此，此件作品充分傳達某種以人做為「自轉」主體的意圖。

人的「自轉」，令人聯想自我內觀、自我省察，甚至暗示佛洛伊德所說的，遊戲中的孩童的自我圓滿情狀。虛實相應、既「迸裂」又「開啟」的「裂縫」的存在，則彷彿某種禪宗所言之「棒喝」之後的「頓悟」。

地球的自轉產生晝夜之變化，人之自轉，是一個自我覺知的反覆辯證。

Self-Rotating Axis, Circular Seams―A Brief Discussion of Lin Hsin-Jung’s “Rotation”

Text / Lo Hsiu-Chih ( Artist )

“Autorotation” is an object self-rotating around an axis which penetrates its own mass. Penetration of the centermost section of the object or center point and supporting this spinning axis is essential to the maintenance of the constant autorotation state of the object.

A sphere often signifies some degree of perfection or completion and hints at a kind of understanding and fluidity. A crack in a spherical object suggests that it requires repair or it is in a state of opening up.

According to Lin Hsin-Jung own statements, the self-rotation of the Earth was the original starting-off concept for his large-scale sculpture, “Rotation”. After carefully examining its appearance, brass was the surface material used to create the texture and color to replicate the globe surface and deliberately create an image of the Earth. This globe is ripped into two parts. In the seam lines, a human face profile, a commonly used art motif by Lin Hsin-Jung forms an upper and lower face profiles which creates yin and yang opposition. In addition, these two face profiles are slightly staggered which divides the sphere into hemispheres. The sliding apart on the sides reveals that it is in a certain state of opening.

By using the imagery of bursting or opening up, the viewer experiences a sense of being startled and awaits mental perception.

Lin Hsin-Jung uses stainless steel material to create the lines of two face silhouettes. The sphere was cut into upper and lower halves and then joined together with stainless steel. Then, staggered sections of the face profile lines shines light upon the encompassing environment and sky. Meanwhile, since the two face profiles always reflect back on one another, they form a kind of mirror image and contrasting effect. In addition, the face silhouette line and self-rotation of the sphere precisely forms a vertical position where the self-rotating axis passed through. It is also happens to be the location of the center of the brain in a normal person. Therefore, this work expresses his intention of using man as an autorotation theme.

Man’s autorotation leads people to self-introspection and self-examination and even hints at Freud’s self-completion of children in games. The juxtaposition of existence and non-existence and the presence of bursting and opening cracks are like the concept of enlightenment in Zen Buddhism coming from a shock of being caught unaware.

The autorotation of the Earth is the changing of day to night and the autorotation of man is a self-awareness of repeating dialectics.

  

  

  

  

貳零壹零年拾月／感謝羅秀芝老師的評論







更多照片：Rotation
延伸閱讀：「反省系列作品」的初始
【自轉之1】透視創作思維
【自轉之2】二元辯證的自轉思維
【自轉之4】靜謐之力
【自轉之5】超越常變．勁健有容

【自轉之4】靜謐之力

圖說／作品在空間中產生凝縮與維繫的作用。  

靜謐之力──《自轉》的以小博大

文／張惠蘭（東海大學美術系助理教授）

《自轉》是林信榮為成功大學新建的社科院大樓所創作的公共藝術作品，在形式上採用了簡潔的形式與單純的媒材語言，與周圍的環境空間形成視覺場所，也在空間中產生起凝縮、維繫作用，透過與建物「方圓」的對話，使社科院的大樓與廣場成為一個特定的造形空間，以一種沉靜與永恆的球體形式來表現社會科學的內涵；重視環境的整體機能性和謙和性，構築具有象徵性的個人時間感受以及自然的場域，延展出無限的想像空間。##ReadMore##

由弧線構成的《自轉》作品主體，採謙虛的姿態融入社科院，將周遭建物原有的直線造形與色彩的元素，透過作品簡潔的造形語彙輕盈的轉換成靜謐中蘊涵能量的場所，並將其所想表達的理念透過詩的形式傳達給觀者，賦予空間新的閱讀方式。作品的材質結合了銅與不鏽鋼的處理，試圖將時間感凝聚其上，觀賞者可以感受到古老卻具有未來感的語彙，建構出屬於觀眾與作品交流的可能，而這裡所謂的交流並非指如遊樂場般的直接互動，而是詩意與想像。

此作也可追溯林信榮於1992年在西班牙所創作的《反省》為初始，造形以人類頭部建構「思想」為主軸；形式上解構實體頭形、反置側臉意象，將其重新建構為思考的符號，形構虛形與量體之依存，包含儒家的「反思」論述，佛家的「自觀」，以及道家的「陰陽」、「虛實」等意象，構成自我對話的同時亦造成內與外對應的衝擊；就個人這些年來在台灣所接觸的公共藝術的經驗看來，社科院的《自轉》的難能可貴處，在環繞公共性議題的公轉運行無礙的同時，延續與保有林信榮作為藝術家本身創作的自轉能量。




The Quiet Power of Silence―Achieving More With Less by “Rotation”

Text / Chang Hui-Lan ( Asst. Prof. of Fine Arts, Tunghai University )

“Rotation” is the public artwork installed at new College of Social Science building at National Cheng Kung University ( NCKU ) . Clean forms and a simple media language are used. The visual area is formed from space of the surrounding environment and compression and maintenance effects are produced in the space. The rectangular/circular dialogue with the building turns the College of Social Science plaza into a specially formed space with the silent and eternal spherical shape revealing the inner nature of social science. Emphasis is placed on the overall functionality and harmony of the environment. The construction possesses symbolic sense of individual time and natural fields to reveal boundless imaginary space.

The curved lines work “Rotation” assumes a modest posture to blend into the College of Social Science. Through the clean vocabulary of shapes of the work, the linear form and color elements present in the surrounding architecture is lightly transformed into a tranquil field of latent energy. The concepts that are intended to be expressed pass though a poetic form for conveyance to the viewer giving the space a new reading. The work combines treated copper and stainless steel materials in an attempt to collect the sense of time upon it. The viewer can gain a sense of the ancient past as well as the future which creates a possibility of exchange between viewers and the work. The exchange that occurs is not the direct interaction of entertainment but poetry and imagination.

The beginnings of this work can be traced back to Lin Hsin-Jung’s 1992 work “Reflection” in Spain. The form of a human head was used to establish a central axis of thought. By deconstructing the shape of the head in form and inverting the face profile, the symbol of thought is reconstructed to form a virtual and material interdependence which brings to mind Confucian self-reflection thinking, Buddhist self-identification, Taoist concepts of yin-yang and emptiness-fullness. During the formation of self-dialogue, corresponding inward and outward collisions are created. Out of all the public art I have personally come into contact with over the years, the College of Social Science’s “Rotation” is a rare achievement. By revolving unimpeded in the midst of public issues, it continues to preserve the self-rotating energy of Lin Hsin-Jung’s works as an artist. 

  

  

  

  

貳零壹零年拾月／感謝張惠蘭老師的評論







更多照片：Rotation
延伸閱讀：「反省系列作品」的初始
【自轉之1】透視創作思維
【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5】超越常變．勁健有容

【自轉之5】超越常變．勁健有容

圖說／作品於工作室完成後運抵社科院中庭進行安裝作業。

  

超越常變．勁健有容──評《自轉》

文／陳水財（臺南科技大學美術系副教授）

單純、靜謐，《自轉》以一種極為內斂的姿態散發出一股幽遠、神祕的氣息。

渾圓的球體被切割並錯開放置，打破了原本寂靜的世界，於是在常與變之間展開一場浩瀚的辯證與對話，是對宇宙天地一場永無止境的玄思，也呈現了天地伊始混沌初開，無以名狀的情態。

藝術家以雄渾的氣度，一手闢開了混沌之球，石破天驚，天地乍現，「人」則隱匿其中；「人」以側臉輪廓的切面浮現，橫陳在天地間，起伏如山川。自轉之球手感斑斑，藝術家以造物之手，用最簡鍊的手法形塑大地；洪荒蒼茫，一如地表的紋理，刻記了造物的巧匠天工與人類的幽遠步履。##ReadMore##

《自轉》是一種轉化；從無序到有序，將勢能轉變成動能，最終整個自轉起來。藝術家將對亙古時空的想像轉化為一種對悠悠天地的愴然感懷；《自轉》體現了「大音希聲」的靜默美學，以最幽微的音調，敘說著萬古傳說──一則關於開天闢地，人類最古老的傳說。

以自身的能量自我運轉，《自轉》也隱喻勁健有容的生命體，如《周易》乾卦所云：「天行健，君子以自強不息」；而其豐富溫厚的紋理，也符應了坤卦之「地勢坤，君子以厚德載物」的啟示──大地氣勢厚實和順，人類宜增厚美德，容載萬物。

《自轉》呈現了內斂的空間形式；自轉之球隱含了無限與具足，包容了風雨與喧囂，「人」則化身為一道靈光，默默運行其上。在LED燈幽遠詭祕的科技光炫中，人物側臉剪影的切線，橫越時空，跨過有無，超越常變；「人」成為無言的存在，消彌了論辯與判斷，摒除知識的藩障，感性充沛。《自轉》選擇以靜止、沉默的方式存在，創造另一種存在的經驗，將我們從紛雜的當下推入了玄冥的思維狀態中，喚起綿綿哲思。

《自轉》鎔鑄自然與人文於一體，是對浩茫時空的精神探索，是對人類自身處境的玄祕深思；其中有對現代科技的直接回應，也有對人類心靈面貌的精微反思。

Surmounting Change, Vigorous Form―Commentary on “Rotation”

Text / Chen Shui-Tsai ( Asst. Prof. of Fine Arts, Tainan University of Technology )

The simple and tranquil “Rotation” has a highly restrained posture which exudes a deep and mysterious ambience.

The perfectly round sphere was cut apart and staggered which disrupts the original silent world. The vast dialectic and dialogue that is opened up between permanence and change is the boundless profundity of the cosmic world and chaotic and nameless state at the beginning of the universe.

With a forceful sublimity, the artist splits apart a chaotic sphere, breaking apart heaven and earth. Man is concealed within. The profile of the human face appears in the cut surface, laid out between heaven and earth, undulating like mountains and rivers. The texture of the rotation sphere is dappled. The artist’s creative hand uses most basic techniques to sculpt the globe. The vast and boundless space like the surface texture of the earth, engraved with skilled craftsmanship, denotes the broad journey of mankind.

“Rotation” is a type of conversion from disorder to order. Potential energy is converted into motion which eventually starts the autorotation. The artist converts the image of timeless space into a type of long sorrowful embrace of the world. “Rotation” brings into being the aesthetic of great music has the faintest notes. The faintest notes tell a timeless legend―The one legend concerning the creation of heaven and earth which is the most ancient legend of mankind.

Self rotation by means of one’s own energy, “Rotation” is also a metaphor for the vigor of living beings. As stated in the Book of Changes I Ching, “As heaven moves with power, the superior man strengthens himself without cease”. The rich and gentle lines correspond to “As the Earth is vast and grand, so a gentleman must embrace everything with virtue and tolerance.”

“Rotation” displays a restrained spatial form. The rotating sphere hints at infinity and upasampadā and contains the elements and clamor. Man is transformed into an aura that is silently travelling. The deep and subtle technological shine of LED lamp and the cut lines of the face silhouette have the effect of transcending time and space, crossing substance and non-substance and surmounting change. Man has a speechless existence, dispelling debate and judgment, lifting the veil of knowledge and filling it with perception. “Rotation” exists in a still and silent state, creating another kind of experience of being. We are pushed from a moment of confusion into a state of contemplation and thinking drawing us into deep philosophical thinking.

“Rotation” fuses nature and humanity into one. His spiritual exploration into vast space is a type of deep and profound contemplation into the situation of humankind. In this, there is a direct response to modern technology and subtle reflection of the aspects of the human soul.

  

  

  

  

貳零壹零年拾月／感謝陳水財老師的評論







更多照片：Rotation
延伸閱讀：「反省系列作品」的初始
【自轉之1】透視創作思維
【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