〈時間的應力〉

〈時間的應力〉

應力空間非常榮幸邀請到藝術家劉建廣發表最新個展〈羅漢-Arahant〉這也是在十年前透過友人得知玻璃創作者劉建廣，準備前往丹麥學習，並在2021年認識了瑞典品牌NOF(Normal Object Factory)，也意外得知，這就是當時的建廣，目前選擇定居於瑞典與太太Alexandra與小孩Hugo一同生活及創作。當初的起心，就是想著有一天，應力說不定能邀請建廣回台灣有一次完整展覽的發表，就這樣地開啟了瑞典與台南的對話，從一年多前就開始討論展覽、有時聊生活。

玻璃的應力-

從小至大的動態變化，透過關注應力的變化，產生空間、疊加、縫合、成形，每當與建廣聊的製作過程的細微變化，全部都存在許多迷人的變化，透過藝術家的經歷去將一個熔融狀態下的可變形體去進行當下的塑形，包含材料色系的選擇及處理，背後也包含豐富的歷史意義，自東德時期一些停產的綠色玻璃原料。不同種不同時期的綠色，綠色同時也某種層面代表傳統玻璃的印象，藝術家建廣試圖扭轉其被定義或者說被固化之材料語意，透過歷史的綠色、仿玉歷史的回看、形體製作的擬仿，產生出概念上的「應力」。

大地應力/ tectonic stress-

從大到無法感知的動態去理解細微動態的產生，從自然環境在時間中的動態縮時感，這也是應力空間此次邀請建廣的契機，透過不同層面的觀看及材料感知及運用，產生出新的語義去對話及共構所謂不可見的想像。

藝術不在於距離，所產生的遙望，而是在於實際的感知及實踐產生出的連結，仿玉來自於藝術家回憶過往自身經驗產生出的錨點，結合「他山之石，可以攻玉」-詩經擷取之概念，譜出屬於自己的身份提問及逐漸接近，我們常提及那個珍貴之物到底是什麼？珍貴之物在於它本身的價值，還是真正的價值來自於如何置放的人，如何將那些成形的回憶畫面逐漸透過自己的方法去傳達。

Soil Space | Peng Yi-Hsuan

〈Time-stress superposition〉

Art does not lie in distance or the distant view, but in the imprinted connection produced by actual perception and practice.

Soil Space is very honored to invite artist Liu Chien Kuang to present his latest solo exhibition "Arahant". It was also ten years ago that I learned about glass Artist Liu Chien Kuang through friends, and prepared to go to Denmark to study, and met the Swedish brand NOF (Normal Object Factory) in 2021. ), unexpectedly learned that this was Chien Kuang at that time, who now chooses to settle in Sweden to live and create with his wife Alexandra and child Hugo. The original intention was to think that one day, Soil Space might be able to invite Chien Kuang back to Taiwan to set up a complete solo exhibition. In this way, the dialogue between Sweden and Tainan started. We started discussing the exhibition and sometimes chatting about Life more than a year ago. 

the stress and deflection of glass-

From small to large dynamic changes, by paying attention to changes in stress, space, superposition, stitching, and shaping are created. Whenever there are subtle changes in the production process of Chien Kuang Chat, there are many fascinating changes. Through the artist's experience, The current shaping of a deformable body in a molten state includes the selection and processing of material colors. There is also rich historical significance behind it, including some green glass  materials that were discontinued during the East German period. Different types of green in different periods, green also represents the impression of traditional glass to some extent. Artist Chien Kuang attempts to reverse the defined or solidified material semantics, through historical green, review of the history of imitation jade, and physical production. The imitation creates conceptual "stress".

Tectonic stress-

To understand the generation of subtle dynamics from large to imperceptible dynamics, and from the sense of dynamic time-lapse of the natural environment in time, this is also the opportunity for Soil Space to invite Chien Kuang this time. Through different levels of viewing and material perception and application, Generate new semantics to dialogue and co-construct the so-called invisible imagination.

Art does not lie in distance or the distant view, but in the connection created by actual perception and practice. Imitation jade comes from the anchor point generated by the artist's recall of his own past experience, combined with "the stone of the other mountain can polish jade".From Shijing (Book of Odin) creates its own identity question and gradually approaches, what is that precious thing we often mention? Does a precious thing lie in its own value, or does the real value come from how people place it and how they gradually convey those formed memories through their own methods?