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非池中藝術網

百藝畫廊

【形,和他的遊戲】郭思敏個展

  • 展期

    日期:2011-10-15 ~ 2011-11-20

  • 地點

    百藝畫廊 (台北市敦化南路1段252巷13號1樓)

  • -Naum Gabo:「我們的作品〝超越日常生活的混亂,跨越過去的灰燼,站在迎向虛空未來的門前〞。」

    初見郭思敏的作品,似乎捎有來自遙遠的宇宙,或是久遠的太初或未來的訊息,突然來到我們這個〝現在〞。

    結構主義在立體主義之後,強調藝術應與可見世界的物件完全無關,應由完全抽象且源自於內心的〝形〞構成。這是一個平常見不到的世界,是服膺於宇宙法則的世界。結構主義的藝術家為美麗的結構著迷,並且喻之為深深的滲透到空間的本質中,並接近我們的意識,所以〝空間〞的感覺就比較具體,也就比較像我們對光或聲音的感覺。

    思敏的作品有著結構主義的美感經驗,她努力捕捉〝空間〞,就像一位對內在話語高度警覺的詩人,不斷找到原本是抽象的概念,來捕捉世界裡非視覺所及的空間秩序。思敏用堅硬的金屬做為材料,不同的表面處理也增加了不同"空間"的氣質。而鈕帶般的造型所形成的空間,含有〝作用力〞的向度,是不同方向的作用力互相扭成的〝形〞。用物理學的〝場〞(Force Field)來形容更為貼切,看似穩定安靜的造形,卻醞釀許多剛好互相銜接或抵觸的力量。這正是讓觀者醉心的魅力,看起來是安定不變的,卻有一種由千鈞萬力的力場,凝聚在一個點或一個〝形〞上的張力。讓我們立於即將衝出三度空間前,進入四維世界的門口。

    Naum Gabo pointed out that artworks: “...have gone beyond the chaos of daily life and beyond the ash of the past to stand in front of the gate of the empty future.”

    They seemed bringing in messages from a distant universe through the remote past or an inexplicable future to the time being, which was the first impression when seeing Kuo Szu-Min’s artworks for the first time.

    Following cubism, structuralism asserted that art should be independent from visible things and should take shape through the abstract ideas in our mind. Art belongs to an invisible territory, but conforms to the laws of the universe. Structuralists were infatuated with the wonders of the structures they created, which have deeply influenced the spatiality of our world and approached our conscious, so spaces bring us closer to our experience of light and sounds.

    Szu-Min’s sculpture represents the aesthetics of structuralism, she captures “spaces” and, like a poetess highly sensitive to words, she never ceases to look into the possibilities of passing on abstract concepts through her art, seizing the spatial orders that we failed to see. Szu-Min uses metal- inorganic materials- as the method in her exploration. Techniques such as how the surfaces are presented don’t affect the nature of the materials.The spaces shaped by the tied chains are the results of forces or force fields, and the minimalist forms of the artist show her profound thoughts and inspire us concepts about physics. The seemingly stable structures are actually created through many enhancing or counteracting forces happening to be connecting one other, which is why Szu-Min’s sculptures are so intriguing. So many force fields constitute the spaces with tension, and when we are about to be thrown out from the three-dimensional space, we come to the gate of the forth dimension so we are able to peep into the graceful universe beyond.

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