展出的作品中,材料与创作的关系并不是单向的,而是双向的,这也是艺术家除了内容上
对于“以 太”的探讨,从创作过程中更加融入精神性的一部分。苏格兰驻留之后,艺术家
对当地文化的深入体验赋予了他对木作为创作材料更加不同的见解。作为自然的给予,
木在工业和制造业中的角色从颜色、硬度、气味等多性质给予使用者不同的反馈和释放
出不同的反应,作为创作者去引导这些“反馈”对最终呈现结果的走向有着重要的影响。
木刻创作中的动作,“阴刻”与“阳刻”让创作在凹凸、去留之间形成最后的画面,这一点也
如同展览“磁场”想表达的一样,这些无法被确切既定却随意志隐藏和显现的张力,时刻
启发和改变着世界和生活。
In the exhibited works, the relationship between materials and creation is not one-way, but two-way. This is also a part of the artist's exploration of "ether" in addition to its content, and a more spiritual integration into the creative process. After his stay in Scotland, the artist's in-depth experience of local culture gave him a different perspective on wood as a creative materialAs a natural gift, the role of wood in industry and manufacturing is to provide users with different feedback and release different reactions from multiple properties such as color, hardness, and odor. As creators, guiding these "feedbacks" has an important impact on the final presentation of the results. The movements in woodcut creation, such as "yin carving" and "yang carving", create the final image between concave and convex, leaving and leaving. This is also like what the exhibition "magnetic field" wants to express. These tensions, which cannot be precisely determined but are hidden and manifested by will, constantly inspire and change the world and life.
这种对自然与人文的交织关怀,延伸到作品中,具体而微地体现在“磁场”这一主题上。“磁场”既是吸引力也是排斥力,它依意识而变,虽然无法被完全科学量化,却是我们可以感知的真实存在。
This intertwined concern for nature and humanity permeates the works and finds focused expression in the theme of Magnetic Field. The "magnetic field" embodies both attraction and repulsion, shifting in response to consciousness. While it cannot be fully quantified by science, it remains a tangible force that we can perceive and experience.