《陰翳 Shadows》2015個展
2014至日本東京Tokyo Wonder Site駐村。駐村期間，曾遇到一位花藝家說道：植物藉由花藝延續下一段奇異生命。在黑夜，植物從土壤中被剪下插在水中，當清晨陽光升起的那一霎那，斷根的花朵一齊轉向陽光，完成他最魔幻的美麗時刻。這一段充滿日本對於美學的詩意敘述，賦予物件的重生與存在更深一層的意義，也開啟莊志維這次創作計畫的想像。
「東西自有它們的生命，只要喚醒它們的靈魂就行了。」馬奎斯在《百年孤寂》說到。
關於生命的轉化與復生，東西方各有許多類似的敘述，聖經中曾提到：『神用地上的塵土造人，將生氣吹在他鼻孔裏，他就成了有靈的活人。』；在中國，女媧朝著小泥人吹口氣，那些小泥人便被灌注了活力，“活”了起來。神話裡的那一口氣息，給了原先無生命的物件有了動力，有如早晨的一道光、四季變化的一刻溫度，讓生物體從死亡到甦醒。工業時代後，一度電、一滴石油讓精密的機械開始運作，外來的自然/力量猶如魔法，施展一場華麗的轉生術，使物件產生生命。
展覽名稱訂為「陰翳」，在字面上的意思是枝葉繁茂的陰影，另一層意義是，過去創作中多以“光”作為創作的媒材，此次也藉由光線造成的陰影，隱喻美麗背後控制的狀態。
展出作品：《轉生樹系列：轉生樹》、《轉生樹系列：集體》、《轉生樹系列：影子1&2》、《宇宙》
In 2014, supported by Taipei Artist Village/Artist-in-Residence Taipei, Chuang Chih Wei performed residency in Tokyo Wonder Site, Toyko, Japan. During his residency in Tokyo, he was told by a florist that a plant extends its next life through the art of flower arrangement. In the dark nights, the plants are cut off and stuck into water. When the sun rises, all the cut flowers turn their heads to the sunshine and complete their glamorous moment of magic. The poetic narration of Japanese aesthetics has further defined rebirth and existence that is also where his imagination of the creation project begins.
In the book One Hundred Years of Solitude, the author Gabriel García Márquez wrote, “Objects have their own lives. All we have to do is to wake their souls.”
In regards to the transformation and revival of life, many similar descriptions are found in both eastern and western worlds. It is documented in the Bible that “the LORD God formed man of the dust of the ground, and breathed into his nostrils the breath of life; and man became a living soul.”In Chinese mythology, the goddess Nu-Wa blows air toward the small clay figure and thus makes it “alive”. The breathe, which is described in the mythology, energizes the inanimate object with a life, just like a beam of light in the morning, or the one-degree change of temperature during the transition of seasons, can bring a life back from death. After human being entering the industrial age, complicated machines can be operated by one degree of electricity or one drop of petroleum. The external force acts as the splendid magic of regeneration to give birth to an object.
The exhibition is titled as Shadows, which literally means the shadows of flourish plants. However, considering “light” was often used as the media of the past artworks of mine, there is another meaning to borrow the shadows made by light for implying the controlling status behind the beauty.
展覽日期：2015.07.31 – 08.23
展覽地點：台北國際藝術村，百里廳 Taipei Artist Village, Barry Room
「東西自有它們的生命，只要喚醒它們的靈魂就行了。」馬奎斯在《百年孤寂》說到。
關於生命的轉化與復生，東西方各有許多類似的敘述，聖經中曾提到：『神用地上的塵土造人，將生氣吹在他鼻孔裏，他就成了有靈的活人。』；在中國，女媧朝著小泥人吹口氣，那些小泥人便被灌注了活力，“活”了起來。神話裡的那一口氣息，給了原先無生命的物件有了動力，有如早晨的一道光、四季變化的一刻溫度，讓生物體從死亡到甦醒。工業時代後，一度電、一滴石油讓精密的機械開始運作，外來的自然/力量猶如魔法，施展一場華麗的轉生術，使物件產生生命。
展覽名稱訂為「陰翳」，在字面上的意思是枝葉繁茂的陰影，另一層意義是，過去創作中多以“光”作為創作的媒材，此次也藉由光線造成的陰影，隱喻美麗背後控制的狀態。
展出作品：《轉生樹系列：轉生樹》、《轉生樹系列：集體》、《轉生樹系列：影子1&2》、《宇宙》
In 2014, supported by Taipei Artist Village/Artist-in-Residence Taipei, Chuang Chih Wei performed residency in Tokyo Wonder Site, Toyko, Japan. During his residency in Tokyo, he was told by a florist that a plant extends its next life through the art of flower arrangement. In the dark nights, the plants are cut off and stuck into water. When the sun rises, all the cut flowers turn their heads to the sunshine and complete their glamorous moment of magic. The poetic narration of Japanese aesthetics has further defined rebirth and existence that is also where his imagination of the creation project begins.
In the book One Hundred Years of Solitude, the author Gabriel García Márquez wrote, “Objects have their own lives. All we have to do is to wake their souls.”
In regards to the transformation and revival of life, many similar descriptions are found in both eastern and western worlds. It is documented in the Bible that “the LORD God formed man of the dust of the ground, and breathed into his nostrils the breath of life; and man became a living soul.”In Chinese mythology, the goddess Nu-Wa blows air toward the small clay figure and thus makes it “alive”. The breathe, which is described in the mythology, energizes the inanimate object with a life, just like a beam of light in the morning, or the one-degree change of temperature during the transition of seasons, can bring a life back from death. After human being entering the industrial age, complicated machines can be operated by one degree of electricity or one drop of petroleum. The external force acts as the splendid magic of regeneration to give birth to an object.
The exhibition is titled as Shadows, which literally means the shadows of flourish plants. However, considering “light” was often used as the media of the past artworks of mine, there is another meaning to borrow the shadows made by light for implying the controlling status behind the beauty.
展覽日期：2015.07.31 – 08.23
展覽地點：台北國際藝術村，百里廳 Taipei Artist Village, Barry Room
