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郭恩铭:镶嵌(Tessellation)

添加时间:2016年08月15日 访问次数:


作者简介:

郭恩铭(1991年生于香港)本科毕业于加拿大温哥华的西蒙弗雷泽大学。他在绘画、摄影和雕塑领域颇有研究,他的作品旨在不断地探索摄影是如何通过现实、表面和虚无来使我们所见与所经历的事情变得复杂。光线既是一种原始资源,也是一个起点。在观念艺术运动时,我们基于摄影媒介应用了临界反射,这一过程主要是光线转换,即从具有颜色梯度的摄影,到喷墨打印机的光雕成像。郭恩铭的作品探究了相片和物体的交叉概念,而摄影就介于这些概念之间。他的作品曾展览于中国第15届平遥摄影节、泰勒艺术学院、奥克兰摄影节和纽约新西兰摄影节。

Alex Kwok (b. Hong Kong, 1991) received his BA in English Literature from Simon Fraser University in Vancouver, Canada. Hovering between painting, photography, and sculpture, his work is a continuous investigation of how photography complicates seeing and the experience of being through presence, appearance, and absence. Light is treated as both a source material and a point of departure. Nodding at the critical reflection on the photographic medium during the Conceptual Art Movement, this process involves translating light from the photographing of color gradients to the sculptural representation of light constructed from inkjet prints. Kwoks work examines the points of intersection between image and object and where the photograph lies between those definitions. His work has been shown at the 15th Pingyao International Photography Festival, China; Tyler School of Art Temple University, PA; Auckland Festival of Photography, New Zealand and Photoville, NY.

 

 


展览前言: 

我的作品以一种有形的方式呈现在相纸上,质疑了在当代艺术界中摄影影像扮演的角色。通过深入研究和直觉感受,我的作品致力于表现摄影维度与形象化理解之间的冲突。我对光线和纸张在摄影中的呈现方式十分着迷。这个项目通过缠绕、照射和拍摄一系列手折的纸三角模型来探索基础几何多边形的视觉复杂性,还从比例和色彩方面对视觉感知的本质提出质疑,并探索三维雕塑和二维印刷之间的交叉性。

 纸张的物质性解释了摄影媒介如何使现实情境化。摄影印证了相纸的本质,以及相纸的制造、剪切的失误、弯曲、以及暴露于现实之后的磨损。

这些有形的特征把摄影相片和电脑打印出来的图像区分开。成堆的雕塑三角形看起来似乎混乱,但正是这种随意性表现了建造的过程。同样地,每张纸都有其重量,因此在艺术家的创作下及重力的作用下这张相纸便能实现自身的价值。

在定向照明的作用下,三角形通过循环地堆积、滑动、缠绕具备了一定形式。通过光线的应用和缺失,每张纸的位置都能够体现光线环绕物体方式。彩色光线的投射生成了许许多多的色调,使各种颜色互相交叉。准确来说,不规则的风景中的色调和光线造就了这些复杂的几何形状。

My work takes in the form of tangible representation on paper in questioning the role of the photographic image in the contemporary art world. Through extensive research and informed instincts, my projects seek to articulate the tension created between dimensionality and pictorial understanding of a photograph. I am fascinated by the photographic representation of light and paper. This project attempts to explore the visual complexity of rudimentary geometric polygons through intertwining, lighting, and photographing a collection of hand-folded paper triangles. It seeks to explore the intersectionality between a three-dimensional sculpture and a two-dimensional print by questioning the nature of visual perception through scale and colour. The materiality of paper commentates upon how the medium of photography contextualizes reality. The photographs affirm the nature of paper; its fabrication, mistakes in cuts, bends, as well as the wears and tears from being exposed to reality.

Such tangible qualities distinguish the photograph from an otherwise computer generated image. The sense of randomness put forth by the seemingly chaotic nature of the sculptural pile of triangles articulate the process of construction. As such, each piece of paper has its own weight and therefore settles itself under the gestures of the artists hands and the force of gravity.

The recurring triangular shape, stacked, slipped, and intertwined, thus gives form through the effects of directional lighting. Through the use of lighting, and the lack thereof, the positions of individual pieces of paper exemplifies the way in which light wraps around objects. For every colour that was casted, it creates multiple tones when they intersect with one another as an aftereffect through the use of shadows. It is precisely the tonality and exposure of light on an irregular landscape that establishes these complex geometrical forms.

 

 


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