2022/01/26

三大經典雕塑亞洲首展

緊接台北當代藝術館展覽「在空之間」，比利時藝術家史丹・安克（Stijn Ank）九月份將回到路由藝術空間迎接「純粹 Purity」個展，帶來三大經典系列創作

壁掛雕塑（Mural Sculpture）、壁畫裝置（Wall Fresco）與直立雕塑（Standing Sculpture），可以看見安克對藝術作品與空間兩者貼合性的堅持。部分為台灣現地創作，是其來到台灣感受與觀察後所詮釋的空間性格。展覽將於9月2日下午三點開幕，藝術家將親臨現場，歡迎各位蒞臨指教。
Immediately after the show in MoCA Taipei, Belgian artist Stijn Ank’s solo exhibition “Purity” will be on view at 15:00 on 2 September in Nunu Fine Art, showing his insistence on the appropriateness of the artworks and the space with his three classic series: Mural Sculpture, Wall Fresco, and Standing Sculpture. Some of the works will be created site-specifically, following the artist’s own interpretation of spatial features in Taiwan since his arrival. Welcome to join the reception with us this time.

。20.2017, 70x80x170cm, 灰泥與顏料 plaster and pigment

壁掛雕塑 Mural Sculpture
在安克最為經典的壁掛雕塑裡，無可忽視的便是其外在形體與實際質地帶給觀者的衝突與不和諧感。乍看如絲綢、布料特有的皺摺與切邊，和灰泥凝固之後所形成的堅硬質地、非光滑表面成為強烈對比，並在視覺觀看體驗上造就不符合預期的對立感受。創作初期，安克並不會侷限自己建造模具的媒材來源，木材、鋁塊、鐵片甚或塑料等，都能形塑出藝術家意圖自環境分割出來的空間輪廓。
In Ank’s most classic series, what cannot be ignored is the unbalanced, contradicted contrast between its form and texture that stands out from every work of his. The silk-like edges and folds creates a strong contrast against the hard texture and uneven surface of plaster, allowing audience to experience an unexpected visual impact, which was built by Ank deliberately. In the beginning, Ank would not restrain himself from choosing the materials for molds liberally. All the wood, aluminum, iron and plastic could be the origin of his works, forming their own wills to make the spacial boundaries.

。壁掛雕塑局部細節 Details of mural works

壁畫裝置 Wall Fresco
壁畫（fresco）可以說是繪畫最初始的形式，是依循建築空間而生的一種藝術創作。安克試圖在此基礎上，將「平面繪畫」以立體雕塑的方式思考，和其他藝術家使用畫布作畫的方式不同，安克多數利用畫布與畫框後方的空間進行創作；而面對大型現地的牆面裝置，藝術家則跳脫出畫布與畫框的限制，自在地於壁面上延展出多彩的「立體繪畫」。安克在這裡反轉了平面作品的創作過程與定義，將所有「裡與外的空間」發揮到極致，是藝術家經典系列作品之一。
Fresco could be viewed as one of the most initial forms of painting, and becomes an artwork that complies with the architectural space. Based on this, Ank tried to think the “paintings” in a way of three-dimensional sculpture.Unlike other artists using canvas to paint, Ank uses the space behind canvas to create his works. While creating a large scale site-specific installation, the artist jumped off the boundaries of canvas and extended the colorful “three-dimensional painting” on the wall. Therefore, Ank blurred the boundary of definition and working process of painting, and put all the “interior and exterior space” to the limit. It is one of Ank’s classic series.

。14.2017, 60x40x2.6cm, 灰泥與顏料 plaster, pigment

。21.2017, 151.9×116.5×3.1cm, 灰泥與顏料 plaster, pigment

直立雕塑 Standing Sculpture
和另外兩種系列相比，直立雕塑能夠刺激人們更多樣化的空間感受能力，同時透過作品呈現的形態，藝術家能夠暗示觀者創作使用的模具，也因此能將更多灌模過程、媒材細節記錄於作品中。以作品《8.2017》為例，可以觀察到沙包相互緊密擠壓的痕跡，證明地球重力的存在。這樣的創作手法不僅忠實地呈現創作過程，更讓藝術家能最大限度地抽離，讓雕塑以自身意志自由成長，表現出雕塑最真實的一面。
Compared with the other two series, the standing sculptures encourage the audience to experience the space in a more diverse way. Through the appearance of the work, the artist hints the audience about the mold used during the process and records the molding and details of medium within. In work “8.2017”, we could consider the traces of pressure compressed by the sand bags as the proofs of gravity. This method of molding is loyal to the reality, thus allows the artist to take a step away from the creating process to show the most truthful form of the sculptures by letting them grow up in their own wills.