Helsinki 2005 dec - 2006 jan / outdoor on-site works

知覺無聲 Perception of Phenomenal Soundlessness


我想很多人都曾與憂鬱相遇過;對我而言,那是一場心靈上的失聰。而今次,可是一次重歷,重返回憶中那些「下陷」的部份。*作品是我於芬蘭作駐場藝術家時,在室外做的一些創作。當中沒有像以往一般於形式上和物料選取上有明顯的取向;就只是順從寒冷,走到湖邊、海邊、叢林,在寒冷仿彿令「精神器官」**也得收縮,使得下陷轉為向內的時候,安靜的、淡淡的把身體、製造之小玩意、眼前大自然的粅件、意境,通過不同的方法,與那作為現象的無聲狀況(或宛如夢境中的「聲音」)重遄A並拼湊成一段段不能用話語表達的圖像襯ヾC

*精神分析學芫^塔利斯(Pontalis)在《窗》「憂鬱症」一章中引用詞典中對Depression的地理學解釋,乃地球表面上的下陷部份。
**同上。

I reckon many people have come across depression. To me, it is the deaf-mute of psyche. This time, I traveled again to the ‘depressed’ part of my memory. * These art pieces were finished outdoors when I was in an artist-in-residence program in Finland. Unlike my past creations, there was no explicit selection of forms and materials; I just followed the frostiness, wandered to the lakeside, to the seaside, and to the forest. The frostiness seemed to condense my ‘mental organs’** in which the depression went deep tranquilly and softly into my body. Making little gadgets, rearranging materials and taking picture in nature, I tried to use a variety of methods to embrace the perception of phenomenal soundlessness (perhaps like the ‘sound’ in the dream) and collaged into pieces of visual narration beyond words.

* J.-B. Pontalis who is a psychologist analyst, quoted the explanation of “depression” in geometry perspective from the dictionary, which is a shrinking part on the earth surface. Details refer to ‘Depression’ inside “Fenetres”.
** Same as above.

關於作品 About the work

 

行李箱的轆子壞了,提不走。然後,攜著看空蕩蕩的箱子,放到湖邊,並以身體把它填滿。 The wheels of the suitcase were damaged, couldn’t move after that, brought along the empty suitcase to the lakeside, filled with the body.

藝術是把埋在土地下的於我的另一半翻過來,成就全部,增大空問。
------ 這可理解為自由。

 

在古老的墓地拾來一些樹枝,把它們重組;然後,在雪地上,是一個個粗略的圖案,也是一個個把零碎殘缺回歸本體的粗淺願望。再然後,圖案在數天後消失了。Picked up some sticks from ancient grave land, rearranged them and you could see there were simple patterns on the ice; meanwhile they were pieces of simple wishes came from fragments which then returned to the essence.

過程像儀式般開始及結束。

在一個人度過的聖誕夜的一個人的房間,從一件衣服剪了一個最簡易可理解的'人形',縫合起來,並在人形的一面剪了一個小洞。翌日,帶著'人形'去了湖邊,把糾纏不清的雪和冰m塞進去,到稱得上立體為止。然後,看到湖邊正好有一條佇立著的木,便把'人形'掛上。之後,風雪給'人形'點上了面。數星期後,人形不見了。 On one person’s christmas night and one person’s room, I cut ‘man-shape’ from clothes, sewed it, and trimmed a small opening on its back. on the other day, I brought it to the lakeside, packed into entangled snow and ice until the shape become solid. Then, I found a wood standing beside the lake; therefore i put the man shape on. After, snow covered the surface of the man shape. several weeks later, it was disappeared.

童年回憶是一塊不知名的石頭,埋藏在不知名的地方。

 

exhibition at UMA-G Gallery
2006 march / Hong Kong

' Stained, the eclisped pattern' 知覺無聲
choi yan chi and ivyma

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