Three-quarter arc

wooden base, white paint, silicone, mirror, water, motor
size radius 120cm, height 95cm
2019

In the summer of 2017, reminiscing about a past encounter at an art gallery, I came across a replica of Duchamp's "Fountain". Its smooth, semi-circular form was encased in pristine glass, adorned with a signature in the lower right corner. It seemed both specimen and sepulcher of art. Upon returning to Taiwan, away from the dispersing halo of art history, I found myself pondering the dynamics of viewing and being viewed, questioning and answering, amidst barren exhibition spaces. Through whimsical, ritualistic forms and elements, and employing the gentle materials of water and light, I attempted to unfurl the originally smooth, rigid objects. Under the sculpting influence of mirrors, it resembled a flawless white fountain at first glance. However, as viewers moved, the integrity of the pool gradually dissolved amidst the visual and imaginative discrepancies. Imagine the "blankness" awaiting narrative no longer confined by boundaries, experiences no longer easily depicted by visual memory.

一分之三弧

木座、白漆、矽利康、鏡子、水、馬達
半徑120公分，高95公分
2019

回憶2017年的夏天，我在美術館內遇見了杜象〈噴泉〉的複製品，光滑半圓的造型被安置在完好的玻璃箱裡，配上右下角的簽名，像是標本、也像是藝術的一座墳。而離開發散的藝術史光暈回到台灣後，總是在凝視著空無一物的展場時，思考觀看與被觀看、問題與回答。我試著透過一些奇想的、帶有儀式性的造型與元素，並透過水與光這樣溫潤的材質將原先平穩、硬質的物件攤散開來，而雕塑在鏡像的作用下，乍看就像一個完好無缺的白色噴泉。但隨著觀者腳步的移動，水池的完整漸漸在視覺與想像的誤差下瓦解。試想那些等待被敘述的「空⽩」不再為邊界所框取，擁有的經驗也可能不再輕易地被視覺的記憶所描繪。