《 紙的第四人稱 》
The Fourth Person of Paper

『藝術家是乘載來自各地情感的容器:來自天空、來自大地、來自一張紙片。』

——畢卡索 Pablo Picasso

「剪紙」做為東方民間藝術裡的一種類別已有悠長歷史,與許多傳統媒材相同,剪紙在當代藝術的演進中、透過藝術家的實驗與實踐,在「工藝技術」之外被賦予了更多的空間、觀念與跨媒材性質。選擇以「紙」作為主要媒材的兩位駐校藝術家,吳耿禎與 Tim Budden,同樣以當代藝術家身份進行創作,卻在創作手法上開展出截然不同的取徑。兩種極致的創作性格在相似的藝術家日常風景中相互輝映,擘畫出本檔展覽互相垂直延伸的兩條重要軸線—「人稱觀點」與「創作核心」。

人稱觀點

展名中的「第四人稱」,指的是文學寫作上的一種敘事手法。透過在同一段落中不停交換人稱代名詞,讓閱讀視角在第一到第三人稱間自由流動。在當代藝術的作品構成中也可以觀察到相似的狀態,同樣一組作品,藝術家的「自我」、觀眾的「你」、藝術世界的「他者」,都是影響藝術家如何創作的重要角色。透過三大展區中分別展示視角權重不同的作品,我們可以觀察到兩位藝術家在創作中時而反映自我背景脈絡、時而重視觀眾視角體驗、時而深究專業領域核心—剪紙藝術價值的流變性,體驗人稱觀點在各種校園空間中自在交會與流動的狀態。

創作核心

除此之外,各大展區皆包含至少一件耿禎、一件 Tim 的作品,讓我們得以在三種不同的人稱觀點前提下,觀察藝術家美麗深刻的兩種詮釋手法。吳耿禎做為觀念藝術的實踐者,強調的是作品觸及的議題與展示方法,他走訪政大、觀察校園環境,提出《 從圖書館出發 》駐校計畫,深入探討校園植物與公共空間美學的關係,串連三大展區的作品形成一組強而有力的敘事結構; Tim Budden 則從傳統剪紙的物質層面出發,注重探索媒材與技術的純熟使用與創新,發展出先在紙上作畫再觀察墨水痕跡剪紙、用火燒灼剪紙邊緣、用光投影紙面形成光影等技法,每件作品都有著獨立的精彩巧思。

剪紙藝術與其他藝術種類不同,包含了動詞的「剪」與名詞的「紙」,這讓紙藝家們有了更多樣的創作空間。透過扎實的創作累積,吳耿禎與 Tim Budden 分別冶煉「剪」的技術、深化「紙」的論述,在人稱視角的自由轉換之間將紙藝的美好與深度獻給你我、獻給世界。


" The artist is a receptacle for emotions that come from all over the place: from the sky, from the earth, from a scrap of paper. "

—— Pablo Picasso

Papercutting has been a form of Oriental folk art for a long time. Like many other traditional media, papercutting has been given more spatial, conceptual, and cross-medium qualities besides the craftsmanship itself, as the result of contemporary artistic evolution via the experiment and practice of various artists. The two artists-in-residence that choose paper as their main medium, Jam WU and Tim Budden, both engage in the creation of art as contemporary artists. However, they take diametrically different paths in their methods of art creation. Two unique personalities, from their somewhat similar daily life as an artist, henceforth interact with each other and give rise to the two extended focuses in this exhibition -- perspectives and the core of art creation.

PERSPECTIVES

The exhibition subtitle – the Fourth Person – refers to a method of narration in literary works. By means of constantly shifting perspectives (personal pronouns) in the same paragraph, the spectator’s point-of-view flows freely from the first person perspective to the third. This technique can also be observed in contemporary art pieces. In the same work, the I of artist, the you of the audience, and the he/she from the art world all exert certain influence during the process of art creation. In the three exhibition areas, works with different weighted perspectives are displayed and spectators can appreciate the continuum of perspectives that the two artists instill into their works. At times, their own contextualized backgrounds are under the limelight; at the same time, viewer perspectives and the innermost core of this professional art genre, the diversification of papercutting’s art value, are stressed from time to time. Hence, these different perspectives, through these works, serenely coexist on campus and shift from one to another at will.

CORE OF ART CREATION

In addition, in every exhibition area, there are at least a work from WU and a work from Budden. In this way, the viewers can take on three different perspectives and observe the two artists’ impressive ways of interpretation. As a practitioner of conceptual art, WU cares very much about the topics that his works touch upon and the ways in which these topics are demonstrated. As a result, he visited and carefully observed the campus of NCCU, before he proposed the residency program, Set Up from the Library which explores in detail the relationships between campus plants public space aesthetics. By connecting the works in the three exhibition areas, he successfully presents a powerful set of narrative works. On the other hand, Budden initiates his dialogue from the material facets of traditional papercutting and focuses on the exploration of how different media and techniques are utilized and innovated. With this in mind, he develops several techniques in which he first paints on the paper and then cuts the paper according to the outline of the ink, burns the edges of the paper, or projects light through the finished art piece to create a silhouette. Each work boasts an individual imagery and has Budden’s heart and soul in them.

Papercutting is very different from other genres of art. The term is made up of the noun paper and the verb cut. Papercutting artists enjoy considerable latitude in their creation of art. Through the accumulation of art creation experiences, WU and Budden refine the technique of "cutting" and the argumentation of "paper" respectively. As the artists shift from one perspective to another, they devote themselves to this special genre of art and thereby present the beauty of papercutting to the viewers and the entire world.

紙的第四人稱
The Fourth Person of Paper
2019.03.25 ~ 05.31
25. Mar. -31. May. 2019
(電算中心藝廊於4/15開展,四維堂與圖書館於4/26閉展) | ( Exhibits in Si Wei Hall & Main Library end on 4/26 while exhibit in Computer Center Gallery starts from 4/29 )

藝文空間開放時間:週一至五11:00-17:00 國定假日休展 (其他場地以各場館開放時間為準)
Opening Hours for the Art Gallery: Mon. - Fri., 11:00 to 17:00 Closed on National Holidays (Other venues have respective regularities)

展覽地點 | 四維堂、圖書館、電算中心藝廊、藝文中心大廳、5F藝文空間
Venue | Si Wei Hall, Main Library, Hall, Computer Center Gallery, Hall & 5F Art Gallery of Art & Culture Center