磁磚計畫-陳向榮個展
Tile Project: Chen Hsian-Jung Solo Exhibition
▎時間：2023/10/21（六）-11/19（日）
▎開幕：2023/10/21（六）
▎公休：每週三四(Closed on Wed & Thu)
▎地點：應力空間 Soil Space _700 台南市中西區民權路二段64巷56號3F
Soil Space, No. 56, Ln. 64, Sec. 2, Minquan Rd.West Central Dist., Tainan City
▎藝術家：陳向榮 Chen Hsian-Jung
▎主辦單位：應力空間Soil Space 、土星工作室 Tu Xing Studio
▎贊助單位：國藝會 National Culture and Arts Foundation
「我對工業量產、規格化的產品有種說不清的著迷，可能是那種理性、精準的思維與工業美學吸引著我，而這又似乎與我身為陶藝創作者有一種本質上的矛盾。」
從《水土不服 vol.2》 ，因應場地空間調性而開啟了磁磚計畫。磁磚是日常生活中常見的建材，同時也是陶瓷的一種工業運用。原料土粉以模具壓縮成磁磚胚體，經過烘乾、施釉及高溫燒製後成為磁磚，和一般的製陶過程相似。強迫症的我自然著迷於工業製品的標準和完美，無法接受手桿陶板在乾燥過程中難以避免的變形，我聯繫了磁磚工廠，希望能向他們購買未施釉磁磚，再自行施釉及釉燒。經過未施釉磁磚和白磁磚的噴釉測試後，發現直接施釉在白磁磚上的完成度高上許多。
我不禁思考我們如何衡量陶瓷藝術的價值？ 需全程手工，透過陶藝家親手製成才有價值嗎？ 部分製程由機器代勞，再由陶藝家接手完成的作品還是陶藝家自己的作品嗎？同時，我也在想生而為人，我與機器製作的產品有什麼不同？常見的磁磚通常是固定圖形的不斷重複和排列，機器善於標準化的複製，而人的價值就彰顯在各種突發的奇想與岔出的思路而衍伸的各種變化和可能吧。該如何捕捉這樣瞬息萬變的想法呢？ 噴釉造成的漸層效果和彩釉堆疊形成的色彩變化，突然想多噴幾層、手拿噴槍的角度歪斜了幾公分等都被細膩紀錄在一方磁磚上，頗能捕捉創作當下不斷流動的靈感、思緒、徬徨和猶豫。
別於一般小尺寸的彩色磁磚，較大尺幅的磁磚更能展現色彩的漸層變化，讓我聯想到一天之中某個時刻的天空雲彩或心境感受。也像是一張張的日曆，綿延的日子被日期切成一格一格，看似獨立的每一天，實則不可分割的連在一起。
條紋系列作品則延伸自以往的創作方式和脈絡，幾何造型、功能曖昧不明的容器或雕塑，探討物與使用者之間的關係。鮮豔的彩釉加上工整的條紋圖案，追求類似工業製品的質感，反映當代人類使用大量生產、規格化製品的生活樣態。在不斷趨近完美卻永遠到達不了的過程中，人性自然地顯露在作品各種細節（瑕疵）中，昭然若揭。
一邊在工業化中尋找人的痕跡，一邊在手工中追求完美。此次展覽在「工業化」與「人性」的交互辯證中，尋找在概念上矛盾的兩端如何產生交集。
"I'm inexplicably drawn to industrially mass-produced and standardised products. Perhaps it's their rational, precise design and the allure of industrial aesthetics that captivate me. Given my work as a ceramic artist, this may seem like an essential contradiction."
I began the Tile Project in response to the unique characteristics of the exhibition space during "Unruly Clay vol. 2". Tiles, a ubiquitous building material, represent an industrial use of ceramics. The base clay is moulded and compressed to form the tile, which is then dried, glazed, and fired — a process not unlike traditional ceramics. My meticulous nature naturally gravitates towards the uniformity and perfection of industrial goods. The inevitable warping of hand-crafted tiles during drying is something I find hard to accept. So, I reached out to a tile manufacturer with the intent of procuring unglazed tiles and glazing them myself. Through tests, I found that applying glaze directly onto white tiles yielded far superior results.
I often find myself pondering over the metrics by which we gauge the worth of ceramic art. Must it be entirely handmade to be appreciated? If machines are involved in certain steps of the process, with the ceramic artist only intervening later, can the work still be attributed solely to the artist? Simultaneously, I reflect on my role as a human. What differentiates the creations birthed by my hands from those churned out by machines? Standard tiles typically embody repetitive patterns in a regimented layout. Machines excel in such predictable reproductions. Yet, the essence of humanity is manifest in our sudden bursts of creativity and the diverging thought processes that ensue. How does one encapsulate such fleeting, dynamic ideation? The nuanced gradient resulting from airbrushing the glaze, the colour variations from overlapping different glazes, an impromptu decision to add another layer, or the spray gun tilting just slightly — each meticulously recorded on a tile, encapsulating the ever-evolving surge of inspiration, contemplation, uncertainty, and second-guessing during its creation.
Contrary to typical small coloured tiles, the larger tiles provide a more suitable canvass for subtle colour gradations, evoking memories of the ever-changing hues of the sky at various times of the day. They're akin to pages of a calendar, where the continuum of time is segmented by dates — each day appearing standalone, yet intrinsically interlinked.
The Striped Series is a continuation of my previous works. These include geometrically shaped containers and sculptures with ambiguous functionalities, exploring the relationship between objects and their users. The vibrant glazes coupled with precise stripe designs seek to emulate the feel of industrially produced items, mirroring today's penchant for mass-produced and standardised goods. In the relentless quest for perfection, which seems forever elusive, the inherent human touch—complete with its imperfections—emerges clearly in the finer details of each piece.
While looking for traces of human participation in industrial products, I'm simultaneously striving for perfection in handmade work. This exhibition delves into the interaction and dialectics of these seemingly opposing entities, unravelling where they intersect and converse.
陳向榮，陶藝創作者，現居住及工作於台北。
從日常生活中擷取靈感，透過觀察、放大，將主題與意念純化，解構成幾何造型與明亮的色彩，變成既熟悉又陌生的樣態，回應人所擁有的共同生活經驗及其衍生出的文化。近期作品聚焦「手工」與「工業化」之間的關係，工作流程的調度、手感痕跡的抹除，追求工整與完美，探索兩者之間的交集及互斥之處。同時，刻意模糊藝術與功能性之間的界線，中斷人們習以為常的線性思考，重新看待自身與物件的關係，反映後現代設計思維。
Chen Hsian-Jung is a ceramic artist currently residing and working in Taipei, Taiwan.
Drawing inspiration from the nuances of daily life, he accentuates and distills subjects and ideas through keen observation, reimagining them as geometric forms infused with vibrant colours. His creations feel both familiar yet refreshingly alien, resonating with common human experiences and the cultures they subsequently inspire. His recent pieces zero in on the intriguing nexus between the 'handcrafted' and the 'industrialized'. By fine tuning workflow, erasing manual imprints, and relentlessly pursuing precision and perfection, he explores the interplay and contrasts between these domains. Concurrently, Chen intentionally obscures the boundary between artistic expression and utilitarian purpose. This challenges conventional linear thought, urging a re-evaluation of our personal relationship with the objects around us and reflecting the ethos of postmodern design thinking.
展覽現場
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陳向榮 Hsian Jung Chen
陶藝創作者，工作及生活於台北
Ceramic artist based in Taipei, Taiwan [email protected]
thefruitshop.co
學歷 EDUCATION
2011 MA 倫敦大學金匠學院 創意與文化創業
Creative and Cultural Entrepreneurship, Goldsmiths College, University of London
2006 BA 國立政治大學 廣告學系
Advertising, National Chengchi University
個展 SOLO EXHIBITION
2020 《工廠》，朋丁，台北，台灣 Factory, Pon Ding, Taipei, Taiwan
2018 《開放工作室 - 當生命給你酪梨，做酪梨吐司吧》，費里曼圖藝術中心，伯斯，澳洲 Open Studio - When Life Gives You Avocados, Make Avocado Toast
Fremantle Arts Centre, Perth, Australia
2016 《椰子秀》，朋丁，台北，台灣
The Coconut Show, Pon Ding, Taipei, Taiwan
2015 《向榮水果行》，苔毛，台北，台灣
The Fruit Shop, Taimo, Taipei, Taiwan
重要聯展 SELECTED GROUP EXHIBITION
2021 《欣欣向榮》，nos:bookspace， 台北，台灣
Hai Hsin × Hsian Jung, nos:bookspace, Taipei, Taiwan
《寶島風情畫》，The Hall， 台北，台灣
Taiwan Scenery and Its Tail, The Hall, Taipei, Taiwan
《壞坏》，節點藝術空間， 台南，台灣
Set BAD, Zit-Dim Art Space, Tainan, Taiwan
2019 《北投在地風味採集計畫》，鳳甲美術館，台北，台灣
Beitou Local Flavors Collecting Project, Hong-gah Museum, Taipei, Taiwan
《食植敘事》，本事藝術，桃園，台灣 Edible, Solid Art, Taoyuan, Taiwan
2018 《暖色調的理性》，槩藝術，台北，台灣
The Rationality of Warmth, Gai Art, Taipei, Taiwan
2017 《金草中藥行》，朋丁，台北，台灣
Gold & Green, Pon Ding, Taipei, Taiwan
《移山》，Wonder/Liebert，巴黎，法國
Moving Mountain, Wonder/Liebert, Paris, France
2016 《食物擺態新書發表-紐約藝術書展》，MoMA，紐約，美國
Food Pose Book Launch, New York Art Book Fair, MoMA PS1, NY, US
2015 《Tendence Talents》，法蘭克福展覽中心，法蘭克福，德國 Tendence Talents, Messe Frankfurt - Frankfurt, Germany
《The Twine Project》，米蘭設計新銳衛星展 ，米蘭，義大利 The Twine Project, Salone de Mobile, Milan, Italy
2014 《Hi, Hound Are You?》，Greyhound Headquarters，曼谷，泰國 Hi, Hound Are You?, Greyhound Headquarters, Bangkok, Thailand
《哈哈哈》，覓米，台北，台灣
HA HA HA, Miimi Gallery, Taipei, Taiwan
《Asian Invasion》，Soy Sauce Factory，曼谷，泰國 Asian Invasion, Soy Sauce Factory, Bangkok, Thailand
駐村計畫 RESIDENCY
2020 文化部選送文化相關人才出國駐村交流計畫，歐洲陶藝中心，荷蘭，2020
Ministry of Culture - Overseas Residency Project, Sundaymorning@ekwc, Netherlands
2018 台北藝術進駐國外出訪計畫-費里曼圖藝術中心，伯斯，澳洲
AIR Taipei - International Exchange Program, Fremantle Arts Centre, Perth, Australia
合作計畫 COLLABORATION PROJECT
2021 〈派太小 豆太大〉，挪石社，台北，台灣
Too Big a Bean for Too Small a Pie, nos:books, Taipei, Taiwan
2020 《橄欖、陽光與海的 365 天》，伊日好物，高雄，台灣
365 Days of Olives, Sunshine, and the Sea, Yiri Goods, Kaohsiung, Taiwan
出版 PUBLICATION
2016 〈食物擺態〉，挪石社，台北，台灣 Food Pose, nos:books, Taipei, Taiwan