卡通頻道 / 在模糊的地方打光 World of Mechanics / Set a Blurry Place Alight
孫知行、盧冠宏 雙個展| A Duo Exhibition by SUN Chih-Hsing & LU Guan-Hong
孫知行、盧冠宏 雙個展| A Duo Exhibition by SUN Chih-Hsing & LU Guan-Hong
Dates|December 14, 2019 - January 18, 2020
Opening|December 14 (17:00)
The artist will be present.
STATEMENT
Take your own cartoon, just press the mouse.
Others buy projectors for camping to watch movies or to show the light and sharpness of a workplace briefing, but I bought a projector for the exhibition. Therefore, I walked around the Guang-Hua Mall with a perspective view of a consumer, letting the projector play a film tailored to it, and diagnosing the imagination of people projecting from the product cycle of the projector.
I deliberately compiled a video that is close to cartoons to annotate the time and space of my life. The characters inside make people laugh but they can't laugh, or the characters are very noisy but they are often dumb. The paradox of life is like the mistake of the system, and will eventually live in the fate of being excluded, but "missing" is a kind of redemption, representing the light of re-recognition. The residue of the bureaucracy is the treasure of the creator.
The protagonist Mc. Launch has a daydream of "becoming a great golfer", Archimedes and the owner of the electrical appliance use the "mechanics principle" to help the people, Doraemon is full of burnout for the time machine, the ancient concept of love cannot escape the destiny of modernization, "Smart City" is full of sirens and reveals that " The more haste, the less speed". I misuse mechanics and weave my narrative in a way that keeps going wrong.
Let mechanics change our life!
I am not a mechanics expert. In fact, my math and physics are not very good, but I am curious. My use of mechanics is to convert mechanics into a physical state of "belief", similar to theoretical principles, practice-like disciplines, and people take shortcuts through them. This is my observation of a society with a tendency to suppress.
If you ask me what is mechanics? I would say that there is a person who believes that the lines must be smooth, regular, and tidy, so he must use compasses when he draws anything. This type of person is a "believers of mechanics." And the person who believes in mechanics often uses the compass to stab his hand when he opens the drawer every morning. This is my practice of mechanics, because that person is me, and I always find that one kind of ideology has to be loosened at that moment.
Others buy projectors for camping to watch movies or to show the light and sharpness of a workplace briefing, but I bought a projector for the exhibition. Therefore, I walked around the Guang-Hua Mall with a perspective view of a consumer, letting the projector play a film tailored to it, and diagnosing the imagination of people projecting from the product cycle of the projector.
I deliberately compiled a video that is close to cartoons to annotate the time and space of my life. The characters inside make people laugh but they can't laugh, or the characters are very noisy but they are often dumb. The paradox of life is like the mistake of the system, and will eventually live in the fate of being excluded, but "missing" is a kind of redemption, representing the light of re-recognition. The residue of the bureaucracy is the treasure of the creator.
The protagonist Mc. Launch has a daydream of "becoming a great golfer", Archimedes and the owner of the electrical appliance use the "mechanics principle" to help the people, Doraemon is full of burnout for the time machine, the ancient concept of love cannot escape the destiny of modernization, "Smart City" is full of sirens and reveals that " The more haste, the less speed". I misuse mechanics and weave my narrative in a way that keeps going wrong.
Let mechanics change our life!
I am not a mechanics expert. In fact, my math and physics are not very good, but I am curious. My use of mechanics is to convert mechanics into a physical state of "belief", similar to theoretical principles, practice-like disciplines, and people take shortcuts through them. This is my observation of a society with a tendency to suppress.
If you ask me what is mechanics? I would say that there is a person who believes that the lines must be smooth, regular, and tidy, so he must use compasses when he draws anything. This type of person is a "believers of mechanics." And the person who believes in mechanics often uses the compass to stab his hand when he opens the drawer every morning. This is my practice of mechanics, because that person is me, and I always find that one kind of ideology has to be loosened at that moment.
"World of Mechanics", SUN Chih-Hsing Solo Exhibition
I really like the fact that images are misinterpreted during the transmission of meaning or information. As I use this axis as the core of my creation, I suddenly think of a past thing:
I was doing a science homework, at the age of six or seven. The content of the assignment was to use the sundial to record the moment, and the shadow position. There was a dial paper in the textbook, which allowed you to make a sundial. Use a piece of clay to adhere the chopstick on the paper and a simple sundial is complete. However, this homework couldn’t be handed over as scheduled: it was very weather-dependent, and just as I finished building the sundial, it started raining heavily. I settled on using a desk lamp to bypass the issue. At the time I thought sundials only required a shadow to work, to create a relationship to the world, or something along the lines. I don’t know how much time had passed while I recorded several consistent shadows, it was as if time stopped flowing.
This was an experience I was deeply impressed with. It wasn’t a matter of fiddling my homework at all, it was about the various factors conforming to our visual perception, and yet disrupting our sense of reality.
My paintings have always tried to blur the referring, indicator function of the image, and propose instead another way of viewing reality. As painting is my go-to response to visualize and reflect on the external world, I tried to connect the practice of painting with this personal experience, this feeling of time presented through shadows. In painting, I proceeded to study how shadows create a visual sense of volume, and as a dialogue with the history of painting, how outlining the silhouette of any object were means to depict their ‘soul’ or served as a secondary substitute. In this exhibition, with painting and installation, I tried to present a far-reaching, irrational sense of time, and simultaneously present the way I see painting as a mean to reflect on experiences.
I was doing a science homework, at the age of six or seven. The content of the assignment was to use the sundial to record the moment, and the shadow position. There was a dial paper in the textbook, which allowed you to make a sundial. Use a piece of clay to adhere the chopstick on the paper and a simple sundial is complete. However, this homework couldn’t be handed over as scheduled: it was very weather-dependent, and just as I finished building the sundial, it started raining heavily. I settled on using a desk lamp to bypass the issue. At the time I thought sundials only required a shadow to work, to create a relationship to the world, or something along the lines. I don’t know how much time had passed while I recorded several consistent shadows, it was as if time stopped flowing.
This was an experience I was deeply impressed with. It wasn’t a matter of fiddling my homework at all, it was about the various factors conforming to our visual perception, and yet disrupting our sense of reality.
My paintings have always tried to blur the referring, indicator function of the image, and propose instead another way of viewing reality. As painting is my go-to response to visualize and reflect on the external world, I tried to connect the practice of painting with this personal experience, this feeling of time presented through shadows. In painting, I proceeded to study how shadows create a visual sense of volume, and as a dialogue with the history of painting, how outlining the silhouette of any object were means to depict their ‘soul’ or served as a secondary substitute. In this exhibition, with painting and installation, I tried to present a far-reaching, irrational sense of time, and simultaneously present the way I see painting as a mean to reflect on experiences.
"Set a Blurry Place Alight", LU Guan-Hong Solo Exhibition