2020 9/12-10/12 台中 107gallery

文/孫百儀  Baiyi Sun

《In a Landscape》靈感來自John Cage的極限鋼琴獨奏曲,與之前各種擴張與擺脫的嘗試相反,2020年嘗試回到纖維藝術的起點,從梭織與編結的各種變化,企圖在傳統工藝技術的吞吐之中,編織新、編織不同、編織輕重薄透密實與之間。

此次個展包括2019至2020的作品,許多件都以竹筘為中心結構,延伸之前作品《徑》的概念,直指織布機的意象,象徵著掌握與控制;經緯線的密度、鬆緊、材料,交錯與反覆形成作品的基本元素。

《重重》系列的一大特色落在流瀉於織布機經緯邊界外的線,流蘇與織布的相應、相映,淡寫人與自然風景之間的進退和張力。

《蜉蝣》探問生命之短暫或者燦爛,重現歐洲古老、僅用經線的編法,利用彈簧結構與竹的材料性質,呈現曲線的張力,拉鋸收放,或有生命極盡的力道。

風景是多重的,變幻更甚動靜、遠近或明暗,人若身在其中則不見全景,但體驗自然、五感飛揚,不免受泛靈世界的觸動,偶爾想像無限擴張,或者也有靜心入定的時候。

Departing from a breezy autumn evening captivated by John Cage’s piano music, In a Landscape is a survey of the elemental, the tensile and the ungoverned. It explores variations and nuances in the traditional, crafty practices of fibre art and reflects upon the tranquil and disquieting moments of rural living where nature, instead of peacefully picturesque scenery, becomes a force that can easily disrupts one’s daily life. Yet it also constantly inspires curiosity, fascination and awe.

The relationship one has with natural landscapes is complex and multiple. Behind layer upon layer of appearances, there seems to always be more – or something else. In a similar way, the weaver has a multi-dimensional relationship with her craft. Despite solid appearances, the woven fabric’s porousness and elasticity lend it fascinating relational dynamics. Returning to her looms after an expansive adventure into a wide array of techniques, Wei-lin Yang delves deeper into the fibre art fundamentals and takes us on a delightfully meditative stroll through the airy landscape of textures, curves, lines, stretch and resistance.

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