Blank Site 空白處 Concrete, Stones, Electric cable, Glass, Soaps, Synthetic fabric, Plastic rope / 混凝⼟、石頭、電線、玻璃、肥皂、化學纖維布料、塑膠繩 Size Variable / 視場地尺寸而定 2015 ( Installation view of URBAN SYNESTHESIA in Kaohsiung Museum of Fine Arts, Kaohsiung, 2015 )
The visual representation of “Blank Site” is similar to an anthropologic representation. My usage of texture and plasticity in my work is closely related to the process and context of production. The idea partly came from history of the space. The current Taichung area contains prehistorical traces of tribes and human species’ abundant activities. In the process of urban planning and destruction through construction, we from later generations incidentally discovered tools and appliances made by neolithic men. The forms and texture of the objects often involve certain contexts while symbolizing various possibilities and questions of civilization in its periodical developments. I’m intrigued by the history of man’s production and mutations of contexts. Is it possible that a kind of fatalist relation between art production and the context that feeds art creation be established like what happened in our history? Can an artist change reality by redefining the texture? Such a change is like an alchemy that turns a basic metal into gold, changing our cognition and feeling toward materials in fresh and lively ways, and challenging the extension among physical beings in the space. Each daily object and various materials used in “Blank Site” have all been transformed and changed in order to induce reliance of men on materials in order to survive. This involves the depth of memory or empathy. And the museum(context) here is part of the sculpture, reinforcing characteristics of life of modernity as relics.