The End is at Hand
The End is at Hand
Mixed Media: Iron, Fabric, Fiberglass /790×306×310 cm/ 2024
這件與劉庭穎共同創作的巨型裝置，以鐵、玻璃纖維與織物呈現出類似有機物的腐蝕質感。我們挪用了宗教雕像的祝禱手勢，將其誇張化為一座巨大的、如同神話斷片般的遺跡。
當觀眾走入其中，身體不再是被凝視的客體，而轉化為一個包覆性的環境。在內部懸垂布料的包圍下，營造出一種半儀式、半墮落的空間氛圍，引發一種介於庇護所與廢墟之間的複雜感知。
This giant installation is a collaboration with Liu Ting-Ying. We use iron, fiberglass and fabric, to create a corroded texture like organic matter. We took the prayer gesture of religious statues and exaggerated it into a huge ruin. It resembles a fragment of a myth.
As the viewer walks inside the body is no longer an object to be watched. It turns into an enveloping environment. Surrounded by hanging fabrics inside, a semi-ritualistic and semi-fallen atmosphere is created. It triggers complex feelings, between a sanctuary and a ruin.
Photo Credit：張芯 Chang Hsin
Mixed Media: Iron, Fabric, Fiberglass /790×306×310 cm/ 2024
這件與劉庭穎共同創作的巨型裝置，以鐵、玻璃纖維與織物呈現出類似有機物的腐蝕質感。我們挪用了宗教雕像的祝禱手勢，將其誇張化為一座巨大的、如同神話斷片般的遺跡。
當觀眾走入其中，身體不再是被凝視的客體，而轉化為一個包覆性的環境。在內部懸垂布料的包圍下，營造出一種半儀式、半墮落的空間氛圍，引發一種介於庇護所與廢墟之間的複雜感知。
This giant installation is a collaboration with Liu Ting-Ying. We use iron, fiberglass and fabric, to create a corroded texture like organic matter. We took the prayer gesture of religious statues and exaggerated it into a huge ruin. It resembles a fragment of a myth.
As the viewer walks inside the body is no longer an object to be watched. It turns into an enveloping environment. Surrounded by hanging fabrics inside, a semi-ritualistic and semi-fallen atmosphere is created. It triggers complex feelings, between a sanctuary and a ruin.
Photo Credit：張芯 Chang Hsin
