回收風景 / Recycling scenery
- 2017年11月16日
- 讀畢需時 4 分鐘
已更新：1月24日
「空氣草—當代藝術中的展演力」 / Opening Reception " Air Plant"
有章藝術博物館 Our Museum 主辦
作品名稱：回收風景
創作者：李蕢至
媒材：湳仔溝沙泥、電風扇、投射燈、樹枝、回收之生活物件
年代：2017
地點：板橋北區藝術聚落，新北市，台灣
(25.008347N, 121.449443E)
創作概念：
2017年時我參與了國立台灣藝術大學所策劃的「空氣草—當代藝術中的展演力」展覽，此展以空氣草這種生命力旺盛且可離土生長的植物為題，隱喻著人、植物、藝術的相互關係，也是外在環境對於文化的養育。
這個地區鄰近附近的湳仔溝，因地勢相較其他地方低窪的關係，以至於每年颱風侵襲的時候總是有淹水的情況。後來由於排水改良與堤防的興建後，終於結束了每年的水患困境。也因為如此，我們會發現在這裡的老建築物上一樓的高度大約200公分左右，設計得較一般建築物低矮，因為這是屬於防洪的空間，是當大水來的時候能夠讓水走的水道。而重要的生活物品與起居都設計在二樓的空間。可說是因環境而適應出的特殊生活風景。在這個展覽中，我選擇了一處當地已經被榕樹氣根爬滿的老舊建築做為作品的位置。以該環境的樹枝、泥沙與生活物件等作為作品的材料，想像著過去水患的生活記憶，並將作品名為「回收風景」。大自然回收著這棟建築，而我在其間創造著曾發生的生活風景。
作品所在地的老房子已經被長年生長的榕樹漫生的氣根所佔據，我使用這環境裡的樹枝，將它聚集成像水一樣的自然雕塑從室內穿梭到戶外，也像此空間的老樹氣根一樣佔據著整個建物內外的空間。並以湳仔溝的泥漿塗抹在一樓的牆上，創造出洪水過後的景象。另外，我向當地民眾募集了一些他們不再需要也不再使用的生活物件，將這些物件盛水後裝置在二樓的地板上，也在二樓的另一處空間中創造一處如用餐的情景，再以風扇結合著照明燈具將盛滿水的鍋碗瓢盆在牆上映射出浮動著的水波紋，創造出過去水患時的奇特生活風景。
Recycling scenery
Recycling scenery, mixed materials (Nanzai Ditch mud, Fans, Projection lights, Branches, Recycled living objects), installation, dimensions variable.
Banciao North District Art village, New Taipei City, Taiwan
(25.008347N, 121.449443E)
In 2017, I participated in the "Air Plant - Performance Power in Contemporary Art" exhibition curated by the National Taiwan University of Arts. This exhibition uses air grass, a plant with strong vitality that can grow outside the soil, as a metaphor for the interrelationship between people, plants, and art, as well as the nurturing of culture by the external environment.
This area is adjacent to the nearby Nanzi Valley. Due to the low-lying terrain compared to other places, there is always flooding when typhoons hit every year. Later, due to drainage improvements and the construction of embankments, the annual flooding crisis was finally ended. Because of this, we will find that the height of the first floor of the old buildings here is about 200 centimeters, and is designed to be lower than ordinary buildings, because this is a flood control space and a waterway that allows water to flow when a flood comes. The important daily necessities and living spaces are all designed on the second floor. It can be said that it is a special life scenery adapted to the environment. In this exhibition, I chose an old local building that was covered with aerial roots of banyan trees as the location for the work. Using tree branches, sediment, and daily objects from the environment as materials for the work, I imagined the memories of past floods and named the work "Recycled Landscape". Nature recycles this building, and I create the scenery of life that happened in it.
The old house where the work is located has been occupied by the long-growing aerial roots of the banyan tree. I used the branches in this environment and gathered them into a water-like natural sculpture that shuttles from indoors to outdoors. Like the aerial roots of the old tree in this space, it occupies the entire space inside and outside the building. The mud from Nanzigou was smeared on the wall on the first floor to create a scene after the flood. In addition, I collected some living objects that they no longer needed or used from the local people, filled these objects with water, and installed them on the floor of the second floor. I also created a dining scene in another space on the second floor. Then, I used a fan combined with lighting fixtures to reflect the floating ripples of water on the wall from the pots and pans filled with water, creating a unique scenery of life during floods in the past.
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