台新銀行文化藝術基金會

親愛的瑞音蔻-陳松志個展

My Dear Wrinkle -A Solo Exhibition by Sung CHEN

展期Date：2010.03.8~3.28

開幕茶會Reception：2010.03.06（六）15：00-17：00

展出地點Venue：日升月鴻畫廊

台北市大安區仁愛路四段107號2樓(環球企業大廈)

2F., No.107, Sec. 4, Ren-ai Rd., Da-an District, Taipei City 106, Taiwan TEL :886-2-27522353  FAX:886-2-27723532

營業時間:11:00-19:00(週一休)

陳松志《親愛的瑞音蔻-A》數位輸出攝影，60x90cm

皺摺的樂趣遠比平滑來的更深沉，並且不輕易被瞧見；
平滑反面亦是平滑，而皺摺的反面卻是另一皺摺。
我們都慣以並且喜好平坦光滑的表面，
然而我們隨著皺摺而來，也隨著皺摺而去；
唯有通過皺摺，才能回頭省視那曾經真實而深切的世界。

陳松志以往的創作多半根植於對「建構」與「毀壞」兩種對應材料融合的探討，同時企圖模糊兩者並與空間進行詩意操作，推翻觀者的既定觀念，不侷限於舊有媒材操作，以現有的粗廉物質為基準，呈現出多元立體裝置，也重新定義創作材料的廣度。

而這次因應台新銀行文化藝術基金會的邀請，陳松志提出不同以往的創作方式，藉以向西方古典雕塑純淨聖潔取徑的形式，重新回歸藝術之古典與神聖性的關連，選擇從雕塑的「縫隙」出發，呈現古典雕像的影像，同時藉由軟性pvc材質形塑出立體雕像產生衝突，再將這些立體雕像重新素描；三者間也產生創作上的循環。而這簡單的紋理擴大、膨脹、拉扯出對應平坦、硬直的認知，這種拉扯來自於在物件與材質背後所可能隱藏的階級性甚或時代性等的價值議題。

展出作品《親愛的瑞音蔻-系列》是個人全新探討材質與物件藝術的觀念性雕塑。

「瑞音蔻」(wrinkle)取其摺痕紋理的擬人化音譯。

創作自述
回顧個人歷年創作多以觀念出發，藉由物質本身的語彙去呈現日常經驗中顯易忽略的感性片段，呈現方式多以立體裝置為主。過去的作品大量以「建構」與「毀壞」並陳的手法，形構出低限物質的多種抽象可能，在「具形」與「意」之間散現著眾多生活事件所交織出的複雜心象，這些粗廉物質所形塑出的想像世界，誘發著人們之於既定認知的知覺思考，端視出多元價值並存的現象縮影。

「親愛的瑞音蔻-陳松志個展」延續著個人過去對於「時間/痕跡」的眷戀描繪，展出作品《親愛的瑞音蔻-系列》是個人全新探討材質與物件藝術的觀念性雕塑。「瑞音蔻」(wrinkle)取其摺痕紋理的擬人化音譯，藉由古典雕塑素胚純淨的形象攝影，對應著軟性pvc塑料反覆擠壓所形塑的畸零異象，這簡單、平坦而硬直的紋絡被擴大、膨脹、拉扯，在認知活動的運行中無形地觸發隱藏於階級甚或時代性的價值意義。作品中挪用西方雕塑之形式典範，荒謬地注入詼諧、反叛的挑弄，將自我感受中環境裡以小見大的視覺經驗，提現出瞬變的社會中往往被邊緣化的美學觀感。這是一個即將被抹去的邊緣，對我而言即是試著努力揭示一種取自於經驗中喻強大於斷裂、毀棄以及微弱的蒐集。

我們的初生係由皺褶而來，然而皺摺也將伴隨著我們而去。人們慣以乞求平坦光滑的表面價值，然而皺褶卻是歲月顯現於我們身體最深切的記憶，摺皺的動作轉折出多重變異的空間維度，在摺痕的縱橫凹曲中卻也引出真實世界的距離，你可以視而不見，它卻真實的存在。

Artist Statement
Reviewing the creations over the years, most of them were presented by the vocabularies of materials such stereoscopic installations to present the sentimental parts that tended to be neglected in the daily experiences. The past creations were presented by a large number of techniques of “construction” and “destruction” to exhibit the various abstract possibilities of limited materials. The complicated imagery interweaved by many life incidents was presented by “concrete shape” and “meaning.” The imaginary world exhibited by these cheap and rough materials attracts the fixed and cognitive perceptual thinking of people to look attentively at the phenomenal epitomes which coexist with multiple values.

“My Dear Wrinkle -A Solo Exhibition by Sung Chen” extends the description of my personal obsession with “time/traces” and exhibits creations of “My Dear Wrinkle–series”, which are conceptual sculptures of investigation on materials and object art. “Wrinkle,” a fold, ridge, or crease is exhibited by the image photographs of classical bisque sculptures in response to the fractional image sculpted by the repeated extrusion of soft PVC. The simple, flat, hard, and straight veins were enlarged, expanded, pulled, and dragged. In terms of cognitive activities, it invisibly touches the values and meanings hidden among classes or time. The formal models of western sculptures are used in the creations to irrationally exhibit humor and rebellious criticism, reflect personal visual experiences in the large environment, and present the aesthetic perception regarding the marginalization of the changing society. This is a margin which is going to be obliterated. For me, it is an attempt to disclose a kind of collection of rupture, destruction, and weakness caused by powerfulness from my own experiences.

We are borne with wrinkles and the wrinkles pass away with us. People are used to pursuing the surface value of flatness and smoothness. However, wrinkles are the most profound memory revealed on our body. The movement of folding reflects multiple and various spatial dimensions. The distance of the real world is also reflected by the pattern and roughness of creases. You may gaze at it without seeing, but it indeed exists.

藝術家 陳松志 
陳松志1978年生於台灣南投，畢業於國立台南藝術大學造形藝術研究所-藝術碩士(M.F.A)，專長複合媒體空間裝置。歷年參與多次國際藝術家交換計畫於英國(Visiting Arts, London)、埃及(The Townhouse Gallery)、法國(Cité International des Arts)、台灣(The Stock20)等地。過去作品曾獲第三屆台新藝術獎年度七大視覺藝術、2008＆2003 台北美術獎優選、2001世安藝術創作獎…等，2008年獲邀參與三宅一生(ISSEY MIYAKE)與台灣年輕藝術家年度合作案，自2001年起陸續發表個展，並參與國內多次重要聯展。現居住、創作於台灣台中及台北。

策劃Curator：台新銀行文化藝術基金會

贊助Sponsor：台新金控