蔓生場 A Sprawling Field｜ 陳依純、陳家翊聯展Chen I-Chun & Chen Chia-Yi joint exhibition
展出藝術家｜ 陳依純、陳家翊 Chen I-Chun & Chen Chia-Yi
展覽時間 | 2021/09/18 (Sat.) - 2021/10/10 (Sun.)
開幕茶會 | 2021/09/18(Sat.) 15:00
開放時間 | 1 pm - 6 pm (Tue - Sun)，週一休館Closed on Monday
《A Sprawling Field》- Chen I-Chun & Chen Chia-Yi joint exhibition
展出藝術家｜陳依純、陳家翊 Artist｜Chen I-Chun & Chen Chia-Yi
開幕時間｜2021/09/18 (六) 3:00pm Opening｜2021/09/18 (Sat.) 3:00pm
展覽時間｜2021/09/18 (六) - 2021/10/10(日)
Duration｜2021/09/18 (Sat.) - 2021/10/10 (Sun.)
新苑藝術將於2021年9月18日至10月10日推出新媒體藝術家陳依純與陳家翊聯展《蔓生場》，開幕酒會謹訂於9月18日（週六）下午三時。本次展覽由陳永賢擔任策展人，以植物生長比喻藝術創作構築場域的《蔓生場》(A Sprawling Field)，除了表述創作思考的蔓生繁殖，亦指涉藝術家創作媒材的物質性綿延，傳達一種物體自身的存在意義。
Galerie Grand Siècle is pleased to present our new joint exhibition, "A Sprawling Field", by Chen I-Chun and Chen Chia-Yi, from September 18 to October 10, 2021. The opening reception is scheduled for 3 p.m. on September 18 (Saturday). “A Sprawling Field” – an image of growing vegetation– is a metaphor the curator Chen Yung-Hsien applied, not only expresses the sprawling of creative thoughts, but also refers to the material continuity of artists' creative media to convey the existential significance of an object itself.
Chen I-Chun's works were inspired by the old machinery and molds of the factory owned by her family, and her enlightenment on the aesthetic of objects was given by her father. Through video works and paintings, Chen I-Chun responded to the meaning of the production and reproduction of "objects" and pursues the poetic quality of objects themselves. Since her childhood, Chen Chia-Yi has cultivated an interest in studying plants. She used plants as creative materials to express the boundary between man-made and natural objects through video creation and image devices, and then explored the stacking, expanding, and dissolute relationship between man-made objects and nature.
“A Sprawling Field” will exhibit the recent works of Chen I-Chun and Chen Chia-Yi. Through new media art, the two artists expressed their unique visual imagery and the objectness of installed materials, expanded their creative concept and physical practice. Both of them connected their family memory and the enlightening experience that their fathers brought them, further explored the significance of materials used in the molding process, returned to objects themselves, and created a field for sprawling thoughts.
Chen I-Chun is currently studying in the doctoral class of the Department of Fine Arts, National Taipei University of the Arts. She is skilled at creating video art, experimental animation/video, interactive art, multi-media art, and painting. Her primary focus is on social issues and folk stories in industrious and marginalized areas, also among the lower middle class. Chen Chia-Yi was graduated from National Taiwan University of the Arts with a master's degree in New Media Art. Her creative themes focus on natural ecology, land change and the construction of civilization. She works on new media and video installations. Her works often integrate plant ecology and spatial field.
Contact Person: Veronica Liu TEL: 02-25785630 Email: email@example.com
Chen I-Chun is skillful at applying poetic video works to outline the lifestyle of traditional industries which underwent the changes of the times. Especially, the old machines that have been shut down for a long time in the molding factory was transformed into image symbols to indicate the recession of the underclass resulted from globalization. Chen remarked that she grew up with the rumbling noise made by factory machines during her whole childhood, just like background music from a music box, which brought her mental comfort and a sense of security, because the sound of machine operation means that disadvantaged workers could work for live. Besides, her father, who owned the domestic machinery factory, always shared her how gorgeous the “objects” are and gave her some metal objects, scrap, stones and branches from a river. They also often talked about the material messages of “objects” themselves or handmade tools as the targets of object discussion. Because of the motive, Chen responded to her father's love through the art creation. Her paintings Weapon Manufacturing Bureau-Wooden Slingshot, Weapon Manufacturing Bureau-Wrist Slingshot, and Weapon Manufacturing Bureau-Paper Blow Arrow applied objects as a target to build handmade images. Through old objects from the domestic old factory, the video works Half a Century-Mold Epic combined past growth memories and personal life experiences to review the metaphorical meaning of the production and the reproduction of objects.
Chen Chia-Yi was also inspired by her father. They often collected stones and wooden sticks, and even muttered to plants when they went mountain-climbing. These unforgettable interests and experiences became her creation cause of spatial field and green plants in the future. Chen Chia-Yi observed the changes of field structure at different time through video creation and space installation. She iteratively constructed the spatial dialogue between herself and plants as the process of plant reproduction: spreading, decomposing and disappearing, to melt the nature environment into body conscious. On the other hand, although there are spatial memories or time fragments that have been forgotten by society, rebuilding organic shape and dynamic image of plants is filled with imagination of pioneering the unknown. Nature explore that natural objects are gradually covered by the spread of artificial objects, even combined with the sole. Unknown Memory and Unknown Plan No.04 present a perceptual state of condensation and become a silent ecosystem fable through the disassembly, assembly and stacking of the structural carrier.
Coincidently, I-Chun and Chia-Yi’s works were both inspired by their fathers. In their creative process, they wove into it respectively, their family memories and personal observations. Under the influence of art, they encountered materials and unfolded visceral conversations emancipated from the interference of language. Within this context, I-Chun depicted the image of her father, rendered the molding and drawings of the family owned factory, examined the significance of the sites and objects in her video works, which all refracted her memory of the rise and fall of the industry. Chia-Yi, on the other hand, engaged in the praxis of green spaces and material installations and constructed a unique site filled with fragments of her memories, creating a bi-directional connection of times and spaces through silent conversation. They broke away from the framework and limitations of media, relocated to their corporeal consciousness, and created objects and scenes which belong to their private experiences.
If considering the spreading of vegetation a metaphor for creating art, the image of ‘A Sprawling Field’ can be understood as a site of intertwined trailing stems cultivated by the artists and their creative ideas, symbolizing the extended field of the artists’ perception of material objects. When an "object" becomes a visible material that enters the perceptual system, human observation of the surroundings begins. The compiled relationships of objects are also regarded as an interpretation of materials in the perceptual process. Chen I-Chun and Chen Chia-Yi tried to return to the images and materials themselves, using video works and installed materials to respond to the objectively visible reality of the moment, and to explore the fissure between social order and the chaos of consciousness. At the same time, they also place themselves in the field of the father-daughter inheritance, projecting traces of the fragments of family memories, allowing objects to evoke the many imaginations of objecthood. This way, the curves or folds, closure or penetration of an object becomes not merely the bearer of reproduced contents, but the field itself has already extended beyond the existential meaning of "objecthood".
© 2015 Galerie Grand Siècle All rights reserved.