存在的維度──時光詠物詩：李光裕 楊炯杕 楊北辰 聯展
The Dimension of Being – Object Poems in Time: A Joint Exhibition of LEE Kuang-Yu, YANG Jeong-Dih and YANG Pei-Chen

策展人 Curator： 段存真 TUAN Tsun-Chen

8/22 Sun 14:30-16:30
策展人╳藝術家對談 Curator ╳ Artists’ Talk
段存真 李光裕 楊炯杕 楊北辰

8/22 Sun 16:30
開幕 Opening

策展人講座 Curator’s Lecture

9/4 Sat 15:00
講題：沉湎追懷─楊北辰雕刻中的私歷史

9/25 Sat 15:00 ( 原訂9/12因颱風改期)
講題：流動的詩意─李光裕雕塑的時空觀

(以上講座都會在采泥臉書線上直播)



文／策展人 段存真

哲學家康德（Immanuel Kant）認為：「時間的本質就是一種自我感覺」。雖然「時間」這個字詞提供了主體之間客觀界定與溝通的基準，然而所謂的時間仍然純粹屬於自我感受性的存在；個人性、直觀性的認定，讓時間這種非真實物質的狀態，被冠上了一個體裁──也就是說，時間是自我感知的產物。在此認知的前提之下，廣泛的時間概念被化約為自我的時間概念，人不再為時間所掌控，在無盡頭的時間之河中漂流，而是藉由時間映證了自身的存在，並且留下了此曾在的痕跡。

《存在的維度──時光詠物詩》此檔展覽邀請了李光裕、楊炯杕、楊北辰三位傑出的藝術創作者，藉由作品展現了在茫漠的時間軸線上那一次次的漫遊。楊北辰的雕刻與楊炯杕的版畫同樣包含了大量的時間性，經由密集的身體勞動堆疊而成。一刀一鑿，一刻一劃，時間的抽象意涵被確切體現在身體與材質之間的交談，語句低調而靜默。楊北辰所雕鑿出那些與真實物件毫無二致的木雕，乘載了一層又一層的時間，像是從書扉摺頁的隙縫中流淌而出，又像是靜靜地往內部滴流，匯集成藝術家個人對記憶以及過往存在的私歷史，讓時間本身成為了意義。楊北辰雕刻時間，楊炯杕則是封印了時光。那些迷人的景色是藝術家記錄腦海中逝去的時間，陳述了浸泡在回憶裡的種種細節，順著畫面中景色的鋪展，就好像搭乘著一輛緩慢搖晃的老火車，帶著我們的視線進行了一趟靜謐的時間旅行，在觀看的過程裡觀者總會陷入情緒上的某種滯留，並且在不自覺的狀態下，從消逝的過往緩慢地朝向此刻，朝向將來移動。

相對於楊炯杕與楊北辰在個人記憶與歷史中的沉溺與追懷，李光裕則賦予了時間流動的體態。李光裕的早期作品清楚反映出西方現代雕塑對於時間向度的思考，近年來的作品則更自由地讓時間擴展成為一種人生哲學。在李光裕的眼中，時間與空間並生共存，空間的通透瓦解了雕塑的體量感，時間如同風一般穿梭其中，四季更迭，日升月落，我們從李光裕的作品裡看不到堅硬執著的生命態度，而是輕盈自在的人生哲學。

或是靜謐沉湎，或是變幻流動，作品本身反映了創作者對於時間與生命的體悟，自我的存在被包含在浩瀚無垠的時間之流中，那屬於過往，屬於當下，也屬於未來。如此意念般的敘事，不需要用鏗鏘有力的驚嘆號來強調，藝術家選擇用最詩意的語句，在時間的維度裡，銘刻下獻給自身的詠物詩。

Philosopher Immanuel Kant believes that “time is essentially a feeling of the self.” Although the word “time” offers a basis for objective definition and communication between individual subjects, the notion of time is still something purely based on self-perception. Personal, intuitive perception allows the immaterial state of time to have a form – in this regard, time is intrinsically a product of human self-perception. With this premise, the broad concept of time is reduced to a concept shaped by individual perception. Consequently, human beings are freed from the control of time and floating in its endless flow. Instead, we prove the existence of one’s being in time, through which we leave behind the traces of our footsteps.

The Dimension of Being – Object Poems in Time features three brilliant artists – Lee Kuang-Yu, Yang Jeong-Dih and Yang Pei-Chen, who have used their works to repeatedly demonstrate their travels through the vastness of time. Yang Pei-Chen’s sculptures and Yang Jeong-Dih’s engravings are both embedded with extensive temporalities layered with intensive physical labor. Through each movement of sculpting or engraving, the abstract implication of time is substantially embodied in dialogues between the body and the material informed by understated, quiet whispers. Yang Pei-Chen’s wooden sculptures, visually identical with the real objects they depict, are vessels of temporal layers. Time seems to seep through the interstices of his book pages, or tranquilly drips inwardly and converges into the artist’s intimate, personal history of memory and faded existences that revolves around time as its sole meaning. Whereas Yang Pei-Chen sculpts time, Yang Jeong-Dih finds his way to freeze it. The enchanting sceneries in his works are faded moments kept deep in the artist’s mind. They convey countless details permeated with memory. As the sceneries unfold in the images, we seem to have hopped on a slowly rocking train that visually takes us through a quiet trip of time. When viewing his works, the spectator is always captured and immersed in a certain emotion, and without being aware, slowly brought from the faded past towards the present as well as the future.

Comparing to Yang Jeong-Dih and Yang Pei-Chen, who indulge in and reminisce personal memory and history, Lee Kuang-Yu confers on time a fluid form. Although Lee’s early work visibly reflects his contemplation on the temporal dimension from the perspective of Western modern sculpture, his work in recent years has shown more freedom in expanding time into a life philosophy. For him, time and space coexist. As sculptural volume is dissolved by open and permeable space, the wind-like flow of time interweaves with his work throughout all seasonal and quotidian cycles. In Lee’s work, we do not find a life attitude that is rigid and stubborn but rather discover a life philosophy informed by a sense of lightness and ease.

Be it tranquil and immersed in the past or changing and fluid in form, these works reflect their creators’ understanding of time and life. As one’s being submerges in the infinite flow of time, it simultaneously belongs to the past, the present and the future. Such thought-like narratives require no intense, strong gestures for making an emphasis. Instead, the artists have chosen the most poetic vocabularies and expressions to inscribe object poems dedicated to themselves in the dimension of time.