格物續篇—《金木和合》

《An Orchestration of Wood and Metal》— Phase II of OBJECTS EXPLORING SERIES

在1983年的「格物系列」，我把繪畫性的媒材定位為「第二自然」, 由此才得以在脫離自然物象之後仍站穩於非形象藝術的基礎之上 (Fig.1) 。

去年底，一位「天使」意外的送來一批木塊，於是，這些上帝的創造物開始溶入我的游藝生涯之中。從審視材料到製作完成的過程雖然充滿挑戰但卻也饒富趣味—-挑戰在於我對新工具與對應技巧的陌生；而趣味則是來自破壞之後的驚奇發現。木材的「抒情」紋路與金屬的「幾何」線條在畫面上也「順勢」的實現了我早年「抒情結合幾何」的意圖 (Fig.2) 。這些作品雖是以「木」為主體而金屬只作線狀的音樂性配合，但在視覺的感受上卻也常常主客易位，兩者之間常存在著競合的微妙關係。

製作的過程仍是延用一貫的方式：在自動性的「發現」與「配置」中反復進行，每一次加減對整體與鄰區的撞擊都深刻的考驗了我的審美，也再再的測試我心性的堅持與體能的極限！尤有進者，加諸於這些作品的無數觸摸與雕琢使作者與作品同受造就！

The “Objects exploring series” in 1983 effectuates the idea of paralleling the painting materials with Nature (Fig.1). This idea enabled me to stand firm on the solid ground of nonfigurative art.

Late last year, an angel presented me with blocks of hardwood unexpectedly and this “Creation of God” carves out a new field of carving for me. The procedure of making it was both challenging and intriguing. Challenge comes from my unfamiliarity with new tools and knowing little of the corresponding techniques while the intriguing effects resulted from the discovery after every “destructive shaping.”

Meanwhile, the lyric wood-grain and the geometric metal bars naturally make a good combination which I intended to accomplish long ago. (Fig.2) Although the metal part seems inferior to the wooden main in terms of size, such melodic strands assume an active role because of the compete-and-cooperate effects between both from time to time.

I made those works with my regular manner of Automatism: To go around between “Discovery” and “Match” recurrently. How the “addition or subtraction” actions impact against the whole or adjacent area always a telling check of my aesthetic and it is a test of my endurance in disposition and strength as well. Last but not least, the countless touches and cuts used to cultivate these artworks won benefits for it and me both.

(Fig.1) (Fig.2)
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(Fig.1) 1983-10, 90x60cmx9cm
(Fig.2). 1979-2, 20x20cm