2019 數位藝術創作案「陳漢聲:湖底 尖山腳」
CHEN Han-Sheng: Once Lake—Field Now
地點:國立臺灣美術館
CHEN Han-Sheng: Once Lake—Field Now
地點:國立臺灣美術館
Artist Statement
“Hudi” (which means “bottom of the lake) is the general name used by the people in my hometown, Dashe, when referring to Tsuiping Village, and “Jianshanjiao” (which means “foot of a pointy hill”) is the name of a small hill located near the 3rd Public Cemetery in the area. There is a plot of farmland by Jianshanjiao that was passed down from my grandfather, and my father had difficulties farming the land, so it was leased out to a shepherd. After my grandfather passed away, the land ended back in the hands of my father. As the son of possibly the family’s last farmer, memories are projected by the art I’ve created and the objects gathered, which are juxtaposed with real-time images and animations. A state of coexistence is constructed, which has risen from being confronted with something that can’t be explained. Real-time images are used in this artwork, which are contrasted with animated images of traditional twined flowers, and the animation is integrated with realistic landscapes of my hometown. Divided by temporal differences, efforts are exerted when seeing the artwork to form a new subject of gaze that is aligned and in synch.
“Hudi” (which means “bottom of the lake) is the general name used by the people in my hometown, Dashe, when referring to Tsuiping Village, and “Jianshanjiao” (which means “foot of a pointy hill”) is the name of a small hill located near the 3rd Public Cemetery in the area. There is a plot of farmland by Jianshanjiao that was passed down from my grandfather, and my father had difficulties farming the land, so it was leased out to a shepherd. After my grandfather passed away, the land ended back in the hands of my father. As the son of possibly the family’s last farmer, memories are projected by the art I’ve created and the objects gathered, which are juxtaposed with real-time images and animations. A state of coexistence is constructed, which has risen from being confronted with something that can’t be explained. Real-time images are used in this artwork, which are contrasted with animated images of traditional twined flowers, and the animation is integrated with realistic landscapes of my hometown. Divided by temporal differences, efforts are exerted when seeing the artwork to form a new subject of gaze that is aligned and in synch.
創作自述
「湖底」是故鄉大社對位在翠屏村其中一個區塊的統稱,而「尖山腳」是對於當地第三公墓那座小山丘的名字,湖底尖山腳的農田,是我祖父留下的。經歷過父親耕作不順,轉租給牧人使用,在祖父過世後又回到了父親手中。身為家族可能的最後一個農家子弟,藝術創作、物件採集,並置著即時與動畫的影像,發散著記憶,並形構出「面對無可名狀」的共存當下。該作品,嘗試使用即時影像,並與春仔花動畫並置,動畫結合實體故鄉風景,隔著時間差,卻又努力的,在觀看中,成為同步的新凝視對象。
「湖底」是故鄉大社對位在翠屏村其中一個區塊的統稱,而「尖山腳」是對於當地第三公墓那座小山丘的名字,湖底尖山腳的農田,是我祖父留下的。經歷過父親耕作不順,轉租給牧人使用,在祖父過世後又回到了父親手中。身為家族可能的最後一個農家子弟,藝術創作、物件採集,並置著即時與動畫的影像,發散著記憶,並形構出「面對無可名狀」的共存當下。該作品,嘗試使用即時影像,並與春仔花動畫並置,動畫結合實體故鄉風景,隔著時間差,卻又努力的,在觀看中,成為同步的新凝視對象。