王文志 創作自述

創作自述

王文志

        早期以木、鐵等材質,表達「人與自然的對應關係」。近年來以竹、藤編織裝置作品,逐漸演變成與在地文化緊密扣合的另一種關係。

《容器》雕塑強調外相的結構美感,希望探索更多本體內部蘊含能量。容器具有包容、蘊藏、聚集、場域的內涵意義。「方外」容器造型及巨型竹編作品,觀眾身體接觸經驗中,不斷湧現活性氣息,激發溫暖、生機、冥想的精神空間意涵。

《大尺度》突破雕塑對於視覺欣賞尺度及內部空間經驗等限制,反應個人山居生活經驗中,大自然沉穩、寧靜的巨大能量。自然材質的編織、放大,表達現代人的心理需求及空間體驗,挑戰常人視覺尺寸,並與景觀、建築互相結合,跨越自然、人為的外在條件,整合周遭地貌、地形的融合狀態,並與宇宙大地做出深度互動關係。

《自然對話》運用木、竹、藤等自然材質,擷取常民文化的累積智慧,投射舊時代的記憶內容。藤、竹及檜木都具有盤據、擴展土地的象徵意涵,能夠表現台灣人民的強韌生命力。它們的氣味、觸感、耐久、承載等特性,深藏於台灣常民生活中,具有台灣人民共同擁有的生活內涵。

    「身體與自然的全面接觸」為近期創作重心,巨大籐竹似神經、血液、脈絡般,分別以騰空、席地、穿梭、盤據等方式,出現在各種空間場域。超大量使用人工編織手法,再現台灣五、六0年代的集體勞動記憶及經濟生活模式,除了對文明都會中資訊流竄世界的逆向思考,也探尋隱藏民間土地裏各種包含地域、草根、非知識等源源不絕活動力量。我由長期山居經驗中,深刻體會人類與自然共生的天命。

Wang Wen-chih

The interactive relationship between men and nature has always been the theme of my works.

The early work are many by axe material quality and so on union copper, iron, stone, wood, naturally displays the humanity facing to demand everything the behavior; Or by iron axe the union temple arch, forms the police world thought which another respect day venerates. From 1988 the great axe series, in 1997 Big Closet 15 meters logs piled the tower andFlood Prevention Plan the spiral wooden bridge waters, except image transmission outside and so on the scar, mourning, disaster, unceasingly thought deeply about the humanity faced "the disaster source" "redeems the province to think" the action. By now time work modelling universal huge, rough, the superficial nature material is simple also covers entirely the year to pass the trace, the belt trifle "the father society" the viewpoint angry glare and scolded. In 2000 A Thread of Life was still a piece of disaster scene, but in the turbulent wooden bridge waters between, many several bamboo ladder has put on the window and the roof, all explanations link up to the natural world, obtains the mind completely to release and parent substance universe containing admits.

In 2000 Path returns the paradise the natural channel; In the same year Kuan-yin returns wilderness the spiritual totem, San-Mei to lives in seclusion simple life yearning for, Bathunfolds the primitive cavern spirit field territory. In 2001 Beyond the Site extends Bath the concept, "barefoot washes the heart, 徜Yang Fangwai" provides the audience a side spirit to cure the placard. The penetration Bath the ceremony washes, the purification 禪定experience, observes calmly with the spiritual energy which roams starts Cheng Hsin once again art manifestation. In 2002 Home and Beyond the Cloud, in 2003 Path, Netting and Kuan-Dou, in 2004 [ 花竹flutters ] the bamboo cane to take root the image several works, in place and so on water surface, forest, prairie or constructing entrance, interior, continues with the outside nature, the artificial environment dialogue contact.

"The body and the natural comprehensive contact" will create the center of gravity for the near future, the giant rattan and bamboo flood in different bodies as if nerves, blood, or veins do.  They permeate different areas of the exhibition room in the form of elevating or sitting on the ground.  When our bodies go into the space, our senses of smelling and sight and feeling are unconsciously stirred. Meanwhile, the exhibit also awakes our organs which have gradually degenerated day after day. He reappears the memory of collective labor and the pattern of economic life by means of exceeding handmade weaving.  In addition to be a reversal thinking of flooding information in this metropolis, he also explores those continuous activities hiding in the soil of the people, which includes the region, grass roots, non-intellectual.  He invites the audience to enter the interior of his works to feel and meditate by the materials of rattan and bamboo and wood, and let our bodies combine with space and sculptures to feel the situation in conjunction with nature while inhaling and exhaling. I by live in seclusion for a long time in the experience, profoundly realizes human and the natural paragenesis destiny