天空的眼泪: 天-海-岸的超现实 作为众多超现实主义画作的主题,天、海、岸介于抽象与具象之间:其具象性 存在于其本身的物质性, 其抽象性在于其物质空间的纯粹性。一直以来,天、海、岸 三者关系的重构衍生出一系列纯粹的超现实主义作品。我们期待通过溪涌展场的装置 艺术,进行一场空间实验,探讨“彼与岸”的时空悖论。 有彼无岸,有岸无彼,“彼与岸”是一对注定要分离的合体。“彼与岸”存在于两 个平行的空间。“彼”存在的意义就是对“岸”渴望而不可及的守望,反之亦然。彼岸凄 美的爱情故事有如现实中的许多平凡瞬间:离去为了归来,舍弃为了得到,千言万语 却相对无言。只有艺术能将我们从无法逆转的人生漩涡中拯救出来,把不可能变成可 能。我们的空间实验不定义个体的未来,也不预测整体的趋势,我们只设定了一个场 域,让观者在倒置、抽象时空当中,反思自己的过去、现在与未来。我们努力塑造空 间的唯一性,以及无法忘却的瞬间。唯一的、令人珍视的空间,对抗着忙碌而浮躁的 日常,对抗着商品社会,对抗着千城一面,对抗着被过度的导向掩盖的视听的迷茫。 人的需要并没那么多,人更渴望的是与心灵对话的空间。 我们的环境的艺术装置,让建筑消于无形。环境,空间与人的关系被重构。人 的感知背离了原有的维度与参照系,空间变得熟悉而陌生。 人与环境的关系置于一个 批判性的角度被重新解读。什么是自我?什么是自我存在的空间? 凹面镜能将影像倒置,在人靠近作品的过程中,天-岸-海的次序是倒置的。本 装置的凹面镜置于地平线处,天空被呈现在近在咫尺的凹面影像当中,在不断的反射 折射下,人与天-岸-海的关系变得奇幻莫测 – 当人活动在拉长的凹面镜周围,似乎陷 入了无尽的天空里。
TEARS IN THE SKY 天空的眼泪
用途 Function: 家具 FURNITURE 所在地 Location: 实施阶段 Phase:    制作完成 MADE 周期 Construction Period: - 完成日 Complete Time: 2019 规模 Size: 3X0.6X0.6M 建筑面积 Floor Area: -
Tears in the Sky: the Surrealism in Sky-Sea-Shore As the subject of many surrealist paintings, sky, sea and shore lie between abstraction and concreteness. Their concreteness exists in their own materiality, and their abstractness lies in the purity of their physical space. All along, the reconstruction of the relationship among the sky, the sea and the shore has resulted in a series of pure surrealist works. We expect to conduct a space experiment through the installation art of Xiyong exhibition, and explore the space-time paradox of "there and shore". There is one there without shore, there is one shore without there, "there and shore" is a combination destined to separate. "There and shore" exists in two parallel spaces. The meaning of the existence of "there" is to keep watch to the "shore", and vice versa. The other side of the beautiful love story is like many ordinary moments in reality: leave for return, give up in order to get, a thousand words are relatively silent. Only art can save us from the irreversible whirlpool of life and turn the impossible into the possible. Our spatial experiments do not define the future of individuals, nor do they predict the trend of the whole. Instead, we only set a field that allows viewers to reflect on their past, present and future in inverted, abstract space-time. We strive to shape the uniqueness of space and the unforgettable moments. The only space that makes people cherish is the space that confronts the busy and impetuous daily life, confronts the commodity society, confronts the one side of thousand cities, confronts the audio- visual confusion that is covered by the excessive orientation. People need not so much, people are more eager to talk with the soul of the space. The art installations of our environment make architecture invisible. The relationship between environment, space and people is reconstructed. People's perception deviates from the original dimension and frame of reference, and the space becomes familiar and strange. The relationship between man and the environment is reinterpreted in a critical light. What is the self? What is the space of self existence? Concave mirror can invert the image, in the process of people close to the work, the order of the sky - shore - sea is inverted. The concave mirror of this device is located at the horizon, and the sky is presented in the concave image close at hand. Under the constant reflection and refraction, the relationship between man and sky, shore and sea becomes mysterious - when man moves around the elongated concave mirror, he seems to be immersed in the endless sky.
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TEARS IN THE SKY 天空的眼泪
用途 Function: 家具 FURNITURE 所在地 Location: 实施阶段 Phase:    制作完成 MADE 周期 Construction Period: - 完成日 Complete Time: 2019 规模 Size: 3X0.6X0.6M 建筑面积 Floor Area: - Tears in the Sky: the Surrealism in Sky-Sea-Shore As the subject of many surrealist paintings, sky, sea and shore lie between abstraction and concreteness. Their concreteness exists in their own materiality, and their abstractness lies in the purity of their physical space. All along, the reconstruction of the relationship among the sky, the sea and the shore has resulted in a series of pure surrealist works. We expect to conduct a space experiment through the installation art of Xiyong exhibition, and explore the space-time paradox of "there and shore". There is one there without shore, there is one shore without there, "there and shore" is a combination destined to separate. "There and shore" exists in two parallel spaces. The meaning of the existence of "there" is to keep watch to the "shore", and vice versa. The other side of the beautiful love story is like many ordinary moments in reality: leave for return, give up in order to get, a thousand words are relatively silent. Only art can save us from the irreversible whirlpool of life and turn the impossible into the possible. Our spatial experiments do not define the future of individuals, nor do they predict the trend of the whole. Instead, we only set a field that allows viewers to reflect on their past, present and future in inverted, abstract space-time. We strive to shape the uniqueness of space and the unforgettable moments. The only space that makes people cherish is the space that confronts the busy and impetuous daily life, confronts the commodity society, confronts the one side of thousand cities, confronts the audio-visual confusion that is covered by the excessive orientation. People need not so much, people are more eager to talk with the soul of the space. The art installations of our environment make architecture invisible. The relationship between environment, space and people is reconstructed. People's perception deviates from the original dimension and frame of reference, and the space becomes familiar and strange. The relationship between man and the environment is reinterpreted in a critical light. What is the self? What is the space of self existence? Concave mirror can invert the image, in the process of people close to the work, the order of the sky - shore - sea is inverted. The concave mirror of this device is located at the horizon, and the sky is presented in the concave image close at hand. Under the constant reflection and refraction, the relationship between man and sky, shore and sea becomes mysterious - when man moves around the elongated concave mirror, he seems to be immersed in the endless sky. 天空的眼泪: 天-海-岸的超现实 作为众多超现实主义画作的主题,天、海、岸介于抽象与具象 之间:其具象性存在于其本身的物质性, 其抽象性在于其物质空间 的纯粹性。一直以来,天、海、岸三者关系的重构衍生出一系列纯 粹的超现实主义作品。我们期待通过溪涌展场的装置艺术,进行一 场空间实验,探讨“彼与岸”的时空悖论。 有彼无岸,有岸无彼,“彼与岸”是一对注定要分离的合体。“ 彼与岸”存在于两个平行的空间。“彼”存在的意义就是对“岸”渴望而 不可及的守望,反之亦然。彼岸凄美的爱情故事有如现实中的许多 平凡瞬间:离去为了归来,舍弃为了得到,千言万语却相对无言。 只有艺术能将我们从无法逆转的人生漩涡中拯救出来,把不可能变 成可能。我们的空间实验不定义个体的未来,也不预测整体的趋 势,我们只设定了一个场域,让观者在倒置、抽象时空当中,反思 自己的过去、现在与未来。我们努力塑造空间的唯一性,以及无法 忘却的瞬间。唯一的、令人珍视的空间,对抗着忙碌而浮躁的日 常,对抗着商品社会,对抗着千城一面,对抗着被过度的导向掩盖 的视听的迷茫。人的需要并没那么多,人更渴望的是与心灵对话的 空间。 我们的环境的艺术装置,让建筑消于无形。环境,空间与人的 关系被重构。人的感知背离了原有的维度与参照系,空间变得熟悉 而陌生。 人与环境的关系置于一个批判性的角度被重新解读。什么 是自我?什么是自我存在的空间? 凹面镜能将影像倒置,在人靠近作品的过程中,天-岸-海的次 序是倒置的。本装置的凹面镜置于地平线处,天空被呈现在近在咫 尺的凹面影像当中,在不断的反射折射下,人与天-岸-海的关系变 得奇幻莫测 – 当人活动在拉长的凹面镜周围,似乎陷入了无尽的天 空里。