非池中藝術網

莊騰翔，1987年出生。於2010年畢業於國立臺灣藝術大學雕塑系，2015年完成該校雕塑系研究所的碩士學位。創作媒材主要以金屬材料為主，透過對材質 的深入理解和獨特詮釋，創造出獨特的形式和造型。創作系列包括《風景》系列、《天地化物》系列、《煉金術》系列、《無象》系列、《大地》系列和《好時光》系列等。這些系列反映了對材料的探索，也企圖通過工業材料與自然造型符號之間的 互動，創造出獨特的形式和造型。

-

《風景》系列，主要以不鏽鋼直接焊接方式完成，作品中體現了中國的抽象空間思維，與造型語彙。並搭配特有的金屬處理—拋、磨、熔、切等肌理質感，在工業材料與自然的造型符號間，產生了相應相合的趣味性。

-

《天地化物》系列，選擇運用無數的鋼板，透過排列、高溫、敲擊、融化、觀察、與造型搭配，將萬物背後的「祂」視覺化。結果總是獨一無二。

-

《煉金術》系列，反映了人類嚮往超脫現有的心靈，而投射於物質的一種寫照。金屬一直是人類創造文明不可獲缺的東西。我們從大自然礦石提取金屬元素， 製造能應付工業生產的材料。將它們還原，加入了精神與想像，就如煉金術士一般，透過「轉化」點石成金。

-

《大地》系列是「意識之花」個展後形成的系列。此系列以自然元素為靈感，運用金屬材料創造出獨特的造型。以"觀察後的創造”的創作過程，透過不斷的發 想、觀察，從看似「無」可能中產生「有」的結果。這個過程如《老子》所說：「道生一，一生二，二生三，三生萬物」。

-

《好時光》系列，痛苦會過去美會留下。每個人都有一些特別的回憶，可能是開心的感動，抑或悲傷難過，隨著時間過去，回憶又會有著不同的感受。這些記 憶都是我們生命中珍貴的好時光。

-

Chuang Teng-Shiang, born in 1987, graduated from the Sculpture Department of the National Taiwan University of Arts in 2010 and completed his master’s degree in the same department in 2015. His primary medium for creation is metal, through which he demonstrates a deep understanding and unique interpretation of the material, creating distinctive forms and shapes.

-

His creative series include “Landscape”, “Creation”, “Alchemy”, “Image”, “Earth”, and “Sweet Times”. These series reflect his exploration of materials and his attempt to create unique forms and shapes through the interaction between industrial materials and natural sculptural symbols. The “Landscape” series is mainly completed by direct welding of stainless steel. The works embody Chinese abstract spatial thinking and sculptural vocabulary. Paired with unique metal processing techniques—polishing, grinding, melting, cutting, etc., it creates an interesting harmony between industrial materials and natural sculptural symbols.

-

The “Creation” series chooses to use countless steel plates. Through arrangement, high temperature, hammering, melting, observation, and modeling, it visualizes the ‘It’ behind everything. The result is always unique.

-

The “Alchemy” series reflects the human yearning to transcend the existing mind and projects it onto the material. Metal has always been an indispensable part of human civilization. We extract metal elements from natural ores and manufacture materials that can cope with industrial production. By reducing them and adding spirit and imagination, like an alchemist, we “transform” and turn stone into gold.

-

The “Earth” series was formed after the “Flower of Consciousness” solo exhibition. This series draws inspiration from natural elements and uses metal materials to create unique shapes. With the creative process of “creation after observation”, through continuous ideation and observation, it generates “something” from seemingly “nothing”. This process is as Laozi said: “The Tao produced One; One produced Two; Two produced Three; Three produced All things.”

-

The “Sweet Times” series, pain will pass and beauty will stay. Everyone has some special memories, whether they are happy and moving, or sad and upset. As time goes by, memories will have different feelings. These memories are the precious good times in our lives.

-

種花，雖然能夠選擇種子，但你卻無法預知這植物開花結果的最終樣貌。能做的就是給它所需的養分，觀察它能成為什麼樣的可能。這時作品本身就是個 俱有創造性的藝術家，而作者甚至只需做個稱職的園丁。

-

當創作脫離絕對的既定模式時，得以讓我在過程中隨著發現作品的變化而作調整，使手中的作品有了它自己獨特的展現，好似有生命一般充滿意外。如此 方式創作，雖然需要更多的時間觀察體會並來回調整，但卻能讓我在這過程中，時時切換成旁觀者的角度看待作品生成，這給我一個真 正參與作品誕生的機會。

-

這幾年在創作的心得上，深感在創造的過程中，藝術家角色不全然是創造者一般存在，更像是園丁工作似的，鬆土、播種、澆水、施肥。細心的照料並選擇 合適方法，期待開花結果。創作如同園丁對待植物的過程，必須瞭解你給予的種種條件:材料、技術、設備、美學、品味、觀念等等因素。從中捕捉靈光乍現 的東西，抽取、轉化、運用，型塑出作品獨立性格。慢慢的，一件作品的誕生、二件作品的誕生、無數作品接連的生出，最後形成一座花園。

-

每件作品就像每段過程中盛開的花，部分來自外在條件的養分，有材料、環境、時空、技術等，也來自藝術家所投放的意識與潛意識。最終，在朵朵盛開的 美麗結果中，能夠透過這花園，看到自身、作品(他者)、和天地。

-

Planting flowers， although you can choose seeds， but you can’t predict the final appearance of the flowering results of this plant. What you can do is to give it the nutrients it needs and observe what it can become. At this time， the work itself is a creative artist， and the author only needs to be a competent gardener.

-

When the creation is detached from the absolute established mode， it allows me to adjust with the changes of the work in the process， making the work in my hand have its own unique display， as if it is full of surprises like life. In this way of creation， although it takes more time to observe and experience and adjust back and forth， it allows me to switch to the perspective of bystanders at any time in this process， giving me a real opportunity to participate in the birth of the work.

-

In the past few years， I have deeply felt that in the process of creation， the role of the artist does not exist as a creator， but more like a gardener’s work ， loosening the soil， sowing， watering， and fertilizing. Carefully care and choose the appropriate method， looking forward to the flowering results. Creation is like the process of a gardener treating plants， you must understand the various conditions you give: materials， technology， equipment， aesthetics， taste， concepts and so on. Capture the things that flash in the middle， extract， transform， and use， and shape the independent personality of the work. Slowly， the birth of a work， the birth of two works， countless works are born in succession， and finally form a garden.

-

Each work is like a flower blooming in every process， partly from the nutrients of external conditions， such as materials， environment， time and space，technology， etc.， and also from the consciousness and subconsciousness of the artist. In the end， in the beautiful results of the blooming flowers， you can see yourself， the work (others)， and the world through this garden.