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彌生 YAYOI
2019 免燒土、動力機械、塑膠、木、鐵粉 Clay,Power machine,Plastic,Wood,Magnet powder 裝置藝術形式 lnstallation 尺寸依據場地而定 Dimensions variable
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《彌生》系列
《彌生》系列作品具體批判了「泥塑課題」與「模塑創作」的擬仿之幻象法則表現，洪聖雄明確提供觀眾一種「簡約」的觀看路徑。作品除了彰顯材料積澱的質感，還有材料對應空間的安置程序，亦能映射藝術家的身體運用之方法。
藝術史實上，藝術家以往無法將「土」的材質保存，並透過翻模工序將泥塑的材質轉移，多以石膏、玻璃纖維或鑄造等易存、輕便之材料 取而代之。而《彌生》系列是使用具有風乾功能的土質做為媒材基礎，「免燒土」能保留下土質在構成作品後的「存在」，甚至透過藝術家的身體介入而彰顯土質材料的有機性，它可以是「淤泥」、「皮層」或是「雕塑量體塊」。免燒土的材料語言也能進一步彰顯工業生產下的質感，它是一種自然的化學混合體，一種工業轉化下的「白色」物質。
《彌生》系列作品都是以裝置藝術形式呈現，其中包含運用大量身體勞動介入，機械語言、現成物的運用與類劇場性的物件拼集。洪聖雄透過不同的創作計畫，將多向度的材料進行巧妙的編排，賦予空間場域一種另類風景。
《YAYOI》Series
YAYOI specifically criticizes the expression of imitating illusion methods of ‘Clay sculpture’ and ‘molding creation’. Author clearly provides a ‘minimalistic’ way of seeing. The acts of removing the expressive textures of layering material and the installing concept of correspondence between material and space, both reflect the ways of usage of artist’s body.
In art historical facts, artists were unable to conserve the materiality of ‘clay’ and transform it through the molding procedure, such material was mostly replaced by plaster, glass fiber, casting or other materials that are easy to keep. YAYOI applies the clay with air dry ability as medium foundation, ‘air dry clay’ can reserve the ‘existence’ of materiality when artwork was constructed. What’s more is that organic of clay material is being set off once intervened by the body of artist, it can be ‘silt’, ‘cortex’ or ‘piece of sculpting mass’. Language of material of air dry clay can then be inclusive of the texturality produced under the industry, a natural kind of chemical mixture, a ‘white’ substance transformed by industry.
The series works of YAYOI are presented in the form of installation art. The works contain the intervention of massive using of body laboring, mechanical language, applying of ready-made and objects collaging of theatricalization. Through different art projects, Sheng Hsiung,Hung makes progress in his ingenious arrangement with multidimensional materials, endows an alternative landscape to the space.
《彌生》
《彌生》作品裝置於一個狹長的廊道空間，此空間的特徵有六面大型窗戶。藝術家以免燒土作為架構作品的重要媒材，透過了「直接塑造」的方式，通過手作的按捏穿透現場紗窗縫隙而產生的「泥團滲透」，異質同構於場所空間，並建造了一個潔白的物質場域。
《YAYOI》
“YAYOI”, an artwork that installed along a narrow corridor space, which has six massive windows. I use non-burning clay as an important media, through a“direct sculpture”method, a way of handmade sculpting, that allows the media penetrated through the gap between the veil. The generated“penetration of mud”, heterogeneous but constructed with space, established a plain white material field.
《彌生》系列作品具體批判了「泥塑課題」與「模塑創作」的擬仿之幻象法則表現，洪聖雄明確提供觀眾一種「簡約」的觀看路徑。作品除了彰顯材料積澱的質感，還有材料對應空間的安置程序，亦能映射藝術家的身體運用之方法。
藝術史實上，藝術家以往無法將「土」的材質保存，並透過翻模工序將泥塑的材質轉移，多以石膏、玻璃纖維或鑄造等易存、輕便之材料 取而代之。而《彌生》系列是使用具有風乾功能的土質做為媒材基礎，「免燒土」能保留下土質在構成作品後的「存在」，甚至透過藝術家的身體介入而彰顯土質材料的有機性，它可以是「淤泥」、「皮層」或是「雕塑量體塊」。免燒土的材料語言也能進一步彰顯工業生產下的質感，它是一種自然的化學混合體，一種工業轉化下的「白色」物質。
《彌生》系列作品都是以裝置藝術形式呈現，其中包含運用大量身體勞動介入，機械語言、現成物的運用與類劇場性的物件拼集。洪聖雄透過不同的創作計畫，將多向度的材料進行巧妙的編排，賦予空間場域一種另類風景。
《YAYOI》Series
YAYOI specifically criticizes the expression of imitating illusion methods of ‘Clay sculpture’ and ‘molding creation’. Author clearly provides a ‘minimalistic’ way of seeing. The acts of removing the expressive textures of layering material and the installing concept of correspondence between material and space, both reflect the ways of usage of artist’s body.
In art historical facts, artists were unable to conserve the materiality of ‘clay’ and transform it through the molding procedure, such material was mostly replaced by plaster, glass fiber, casting or other materials that are easy to keep. YAYOI applies the clay with air dry ability as medium foundation, ‘air dry clay’ can reserve the ‘existence’ of materiality when artwork was constructed. What’s more is that organic of clay material is being set off once intervened by the body of artist, it can be ‘silt’, ‘cortex’ or ‘piece of sculpting mass’. Language of material of air dry clay can then be inclusive of the texturality produced under the industry, a natural kind of chemical mixture, a ‘white’ substance transformed by industry.
The series works of YAYOI are presented in the form of installation art. The works contain the intervention of massive using of body laboring, mechanical language, applying of ready-made and objects collaging of theatricalization. Through different art projects, Sheng Hsiung,Hung makes progress in his ingenious arrangement with multidimensional materials, endows an alternative landscape to the space.
《彌生》
《彌生》作品裝置於一個狹長的廊道空間，此空間的特徵有六面大型窗戶。藝術家以免燒土作為架構作品的重要媒材，透過了「直接塑造」的方式，通過手作的按捏穿透現場紗窗縫隙而產生的「泥團滲透」，異質同構於場所空間，並建造了一個潔白的物質場域。
《YAYOI》
“YAYOI”, an artwork that installed along a narrow corridor space, which has six massive windows. I use non-burning clay as an important media, through a“direct sculpture”method, a way of handmade sculpting, that allows the media penetrated through the gap between the veil. The generated“penetration of mud”, heterogeneous but constructed with space, established a plain white material field.
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彌生 YAYOI
2019
免燒土、動力機械、塑膠、木、鐵粉
Clay,Power machine,Plastic,Wood,Magnet powder
裝置藝術形式 lnstallation
尺寸依據場地而定 Dimensions variable
2019
免燒土、動力機械、塑膠、木、鐵粉
Clay,Power machine,Plastic,Wood,Magnet powder
裝置藝術形式 lnstallation
尺寸依據場地而定 Dimensions variable