花蓮縣石雕博物館

「墜石粉塵」顧世勇個展 

       我經常坐在花蓮的海邊，看著太平洋的浪濤及其岸邊的沙塵隨風起舞而發呆，有時這些沙塵夾雜著枯草捲起了小小的陣風漩渦，從你的腳尖盤旋而過，讓人開始注意到週遭一些細微事物之間，似乎有種能量相互消長的關係。此次在石雕館的個展，以「石粉」作為觀念性雕塑，就是從時間能量消長的跨距維度（隕石→砂礫）來思考的。

       本展覽的兩件作品：《回音》及《海平線》，分別部署在前後一大一小的空間中。而貫穿這兩件作品的元素均為「石粉」，不管是山石或沿海沙礫，乃至分佈在花蓮海岸線上的石雕群，其構成最原始單位亦是石粉，每當蕭瑟的東北季風吹起，石粉就隨風揚起，四處飄散、游離在山間、林地、曠野、溪流、河床、海邊等最荒原邊陲的地帶，我想，石粉應該是花蓮最不引人注目，然而卻是對環境地形、地勢、地貌最敏感的物質。

      《回音》是以偌大山石輪廓線的剪影效果，一個挨著一個，畫滿空間的四面牆壁，而在這些巨石矩陣圖像的表面上，沾黏著灑滿的石粉，令牆角裝設八支的踩踏鼓棒，當觀眾踩踏敲擊牆面時，壁面隨即傳來陣陣的鼓聲，再經由數位參數的運算，給出猶如迴盪在山谷間的回音，時而夾雜著鳥鳴、蟲叫、溪流、瀑布、雷雨、陣風、地震的轟隆聲等，而在這壁面共振的同時，石粉塵埃也跟著微微飄散落下，宛如在這些細微的粉塵中，隱藏著大自然潛在能量的躁動正在暗示著人們什麼的？這些瀰散在空蕩展場微微作響的細節中，在在驅使人對自然未知的力量萌生敬意！

      《海平線》則是利用一般空間中常見、存在於牆面和地板交接處15公分的踢腳板，借力使力，將它漆成漸層的湛藍色來作為海及海平線，而接連著海面下方的地板，則鋪灑著延伸自隔壁作品《回音》牆面、那些被鼓棒擊落於地面的石粉，轉換彷若沿海沙礫；踢腳板海平線以上的大面積牆面，皆塗刷清澈透明的漸層天空藍，表現出海天一色、無垠的空間感。然而，就在這片寧靜視閾的一角，突兀地由牆面掉出一塊搖搖欲墜的逃生指示LED燈、偶爾搖晃的懸掛水晶燈，以及橫倒於地的滅火器，頃刻間，清透無垠的平和空間，因為冷不防闖入的事件，被殘酷地置換為一處令人不安的意外風景。

       對於一個從西部移居花蓮的人來說，後山總存有尚待解密的神秘面紗，不像過度開發編碼的西部，一切都變得已知透明，平淡無奇。花蓮大自然的力量會令人感到渺小而心生莫名的敬畏！不管是行走在縱谷邊的懸崖峭壁、幽深的山林、偶來的地震，抑或佇立在太平洋的浪濤洶湧岸邊，都會讓人的意志時而變得無比堅毅，時而感到極其脆弱，在兩種感覺之間相互拉扯、矛盾共存。

       總的來說，花蓮的日常背後，總隱藏著自然不可知的力量威脅，這個展覽以「石粉」物質的敏感特質，來延伸石雕觀念的擴張，以及作為細微力量的隱喻，即是對這樣潛在的自然力量作出詩意的回應。

• 展期 | 2024年7月13日 (星期六)-9月29日(星期日)


• 開幕座談會 | 2024年7月13日(星期六) 2:00 pm


• 與談人 | 李傑、沈裕昌


• 展覽地點 | 花蓮縣石雕博物館1F第一企劃室 / 花蓮市文復路6號

“Floating Stone Dust ” Solo Exhibition of KU, Shih-Yung

 

      I often sit by the sea in Hualien, watching the waves of the Pacific Ocean and the dust on its shores fly up in the wind. Sometimes this dust, mixed with withered grass, creates a small whirlpool of wind that swirls past your toes, and you begin to notice a relationship between the subtle things around you that seems to have a reciprocal energy that grows out of each other. This solo exhibition at the Stone Sculpture Museum, using "stone dust" as a conceptual sculpture, is thinking in terms of the spanning dimension of time-energy decay (meteorite → gravel).

 

      The two works in this exhibition “Echo” and “Sea Horizon”, are respectively deployed in a large and small space at the front and back. The element that runs through these two works is “stone dust”, whether it is mountain rocks or coastal gravels, or even the stone sculpture clusters distributed along Hualien’s coastline, the most primitive unit of their composition is stone dust. Whenever the bleak northeastern seasonal winds blow, the stone dust is lifted up with the wind, and it drifts and wanders around in the mountains, woodlands, wildernesses, streams, riverbeds, seashores, and other most desolate and borderland areas. I think stone dust should be the least noticeable substance in Hualien, yet it is the most sensitive to the landform, terrain, and landscape of the environment.

 

     “Echo” uses a silhouette effect of large boulders, one after another, filling the four walls of the space, and on the surface of these boulder matrix images are adhered sprinkles of stone powder, and in the corners of the walls are mounted 8 stomping drumsticks. When the audience steps on the drumsticks and strikes the wall, the wall will immediately transmit the sound of drums, and then by the digital parameter algorithms, as if echoing in the valleys, sometimes interspersed with the chirping of birds, insects, streams, waterfalls, thunderstorms, gusts of wind, and the rumbling of earthquakes. At the same time when the wall resonates, the dust of the stone powder slightly drifts down, as if in the tiny dust, the hidden potential energy of nature’s restlessness is suggesting to the people what’s going on. These details, which are pervading the empty exhibition space, drive us to respect the unknown power of nature!

 

      “Sea Horizon” utilizes the 15 cm skirting board, which is commonly found at the junction of the wall and the floor in general spaces, and paints it in a gradual azure blue color to represent the sea and the sea horizon. While the floor below the sea-level is covered with the stone powder that extends from the next door’s work “Echo”, which has been knocked down by the drumsticks on the ground, transforming it into the coastal sand and gravel. The large area of the wall above the sea horizon of the skirting board is painted in a clear and transparent gradient sky blue, expressing the colorful and boundless space of the sea and the sky, and the sense of boundless space. However, just at the corner of this serene threshold, a piece of shaky escape indicator LED light suddenly falls out from the wall, a crystal lamp occasionally sways, and fire extinguishers fall on the ground. In a moment, the clear and boundless peaceful space is brutally replaced by a disturbing and accidental landscape due to an incident of unexpected intrusion.

 

      For someone who has moved to Hualien from the West, there is always a veil of mystery in the back of the mountains that has yet to be unraveled, unlike the over-developed and coded West, where everything is known and transparent, and nothing is exciting. The power of nature in Hualien makes people feel small and inexplicably awe-inspired! Whether walking along the cliffs of a longitudinal valley, in a deep forest, during an occasional earthquake, or standing on the rough shores of the Pacific Ocean, one’s will sometimes become incredibly strong, and at other times extremely fragile, tugging at each other in a contradictory coexistence of the two feelings.

 

      In general, there is always a hidden threat from the unknowable power of nature behind the daily life of Hualien. This Exhibition is a poetic response to this potential power of nature by using the sensitive nature of the material “Stone Dust” to extend the expansion of the concept of stone sculpture and as a metaphor for the power of little things.

 “Floating Stone Dust ” Solo Exhibition of KU, Shih-Yung

 

• Date | 2024.7.13-9.29


• Symposium | 2024.7.13 2:00pm


• Panelists | LEE, Kit and SHEN, Yu-Chang


• Location | Hualien County Stone Sculpture Museum | No. 6 Wen fu Road, Hualien City, Hualien County, Taiwan