<![CDATA[施宣宇工作桌筆記

<![CDATA[施宣宇工作桌筆記 - PRESS報導]]> http://www.unit-9.com/blog/ zh-cn PBlog2 v2.4 施宣宇工作桌筆記 http://www.unit-9.com/blog/images/logos.gif http://www.unit-9.com/blog/ 施宣宇工作桌筆記 http://www.unit-9.com/blog/article.asp?id=37 <![CDATA[施宣宇の陶芸哲学]]> unit.office@gmail.com(Samuel) Wed,16 May 2007 18:00:18 +0800 http://www.unit-9.com/blog/default.asp?id=37

文: 日本多治見市政府文化局 Mieko Yoshida

“ユニット”という寸法の基準は、時間や場所や会話をしている人々が変わるにつれていつも変化しています。人々の会話中に、刻々とたゆまぬ変化が起こっています。しかしながら、数多く様々な基準がある中で、そのうちのひとつだけが、一般的に認知され続けます。それは、歴史書において選ばれ、掲載されている話だけが、支持され、保持されていくことと同じです。サミュエル（施宣宇）は、人々のお互いのやりとりから出てくる考えを集め、一度ばらばらにして理解し、作陶の過程を通じて瞬時にそれらを表現し、極端な高温で焼き上げることを得意としています。

多治見アーティストインレジデンスにおいてもこの考え方を理解してくださればと思います。様々な地域性の違いから、アーティストは文化、人々、物事の多様性を利用して、土を使い、コミュニケーション、理解、消化吸収、再構築などの一連の過程をすべて表現することができます。

記録：この計画の素晴らしい点は、東洋の考え方を反映する東洋的論理を使い、陶芸を通して、この考えを分かち合おうとすることです。自己の観点から、文化の分裂、許容をみてとろうと試みました。さらに、唐草、家紋、建築物、衣類なども観察しました。観察と記録の過程が重要な部分となります。

相互作用：芸術は美しい作品として、ギャラリーに埋もれていてはいけません。サミュエルは、観察、相互のかかわりあい、チームワークを通して、新しい考
え方を引っ張り出すのが好きです。アーティストインレジデンスは、学生や地域の住民が参加し、芸術について語る場となるでしょう。又、陶芸の制作過
程の技術の交換というものを超え、中国と日本文化の興味深い違いをみてとることができると思います。

サミュエルは、1988年に陶芸を学びはじめ、1994年に初めて個展を開いてから、10年以上がたちました。国内外の展示会への参加も50回を越えました。彼は、様々な種類の土、木、金属、硝子、機械仕掛けのような様々な材料を使い、高温度で焼く作品をつくることに焦点を絞りました。
文化の違う多くの国々を訪問し、何度もアーティストインレジデンスに参加してきました。文化交流員として、日本の陶芸の発祥地、多治見を訪問し、作陶に焦点をあてながら、芸術を追い求め、観察するものとしてこの文化的旅行を成功させたいと願っています。

]]> http://www.unit-9.com/blog/article.asp?id=36 <![CDATA[A Thinker Wandering Between Reality and Eternity -]]> unit.office@gmail.com(Samuel) Thu,16 Sep 2004 17:56:57 +0800 http://www.unit-9.com/blog/default.asp?id=36 A Thinker Wandering Between Reality and Eternity -
Discussing the Work of Ceramic Artist Shih Hsuan-yu

Falling into deep thought after a viewing is the sort of reaction that Shih Hsuan-yu’s work inevitably arouses. Through unique style, complex and profoundly meaningful decorative details, he conveys serious, mysterious and metaphysical-like ideas, like the measured musings of a philosopher, emitting the faint light of wisdom. On the other hand, Shih’s mature and precise grasp of clay and fire, and his almost perfect formal aesthetic requirements, are fully revealed in the external appearance of his works. The interaction and mutual stimulation of profound themes and perfect form, ensures that although Shih Hsuan-yu’s ceramic art needs to be pondered thoroughly it always leaves the viewer thinking.

About Themes: Wandering Between Reality and Eternity

As an artist Shih’s creative choices begin with the observation of social phenomena. Beginning with his first solo exhibition “Be in a State of Equlibrium” in 1994, and continuing through the second “The Axis of the Metagalaxy” and third “The Wings in the Wind” in 1998 and 1999 respectively, the artist’s creative work over the last decade has originated in his observation of current social phenomena. Most of the themes Shih has shown an interest in have revolved around the interactive relationship between people and society and the forms this takes. A view of his work shows these to include a view of time controlled by machines, a new social order mapped out by labels and barcodes, consumed religious fervor and the generational differences in the use of words and symbols. These themes reflect new social issues encountered by the artist in his own life.

As a 20-year old young man stood in the sudden torrent of life science and technology, Shih experienced first hand the transformation from an from an old to new. The rapid development of communications, transportation, computers and other technology, changed, both in terms of substance and intangibly, how people interact. This new life style mode had a totally different pace to that of earlier life, enough to accelerate the changes in and reform the social networks that have been developed over many years. The artist has transformed this real experience into an art form, allowing people to encounter the truth of life as seen through his magnifying lens.

From the time development sequence, it can be seen that Shih’s work over the last ten years has moved from describing or interpreting social phenomena, to crafting and conveying the metaphysical viewpoints behind the phenomena considered. After the second solo exhibition, probably because he was older and more thoughtful, Shih gradually began to exhibit a strong interest in religion, philosophy or traditional classical ideas. He now often looks for the ideas and logical foundation that underpin old books and the classics, fully reflecting an interest in speculative philosophy and desire to get to the heart of the matter. For example, Shih habitually focuses on social issues, gradually peeling away the layers and focusing on the foundation of interaction between people – words. From the differences between words he goes on to explore the establishment and precision of the norms of interpersonal behavior. For this reason, the method of expression of his works has varied, from a sarcastic and playful tone with the use of scales and a measuring cup in “The Wings in the Wind” express the ridiculous phenomenon of measuring the “weight” of time, to more classical, well-knit and solemn expressions, as in “Never Ending See-Saw Battle” which used stories from the Bible to express the process of considering time.

Judging from this sequence, Shih attempts to translate the wisdom of our ancestors and interpret the will of God (the Creator) through various art forms. At the same time as exploring the phenomenon of change in contemporary society, the artist also finds a basis for his ideas in classic works and rays of wisdom in the words of the ancients. With a respectful and modest approach he follows the footsteps of those who came before to retrace the beginnings the phenomena, utilizing shapes and colors to express them concretely in artistic form. As an example, the inspiration for the 2004 solo exhibition “Close the World / Open the Next” came from the section “Lu Li Zhi” (a record of standards for a national music scale, days, months, dates, weights and measurements) in the classic “Book of Han” where it is written:

“From 2255BC-2206BC, rules from the Kingdom of Wu established a national set of unified standards for the measurement of musical scales, length, volume and weight, creating a foundation of trust for people both near and far. If we take the beginning of history as the drawing of the eight diagrams by Fu Yi-shih, then the Kingdoms of Yao and Shun already a large and complete system of national standards. The Xia, Shang and Zhou dynasties that followed simply referred to the practices of the past without revision. After the collapse of the Zhou dynasty, governments lost these national standards. Arriving in the Kingdom of Chen, Confucius said to the King: Carefully weigh an object and observe carefully its standards of calculation, revise disorderly official standards, so that the indulged masses will revert to observing this standard. In terms of counting, musical scales, length, volume and weight, an upright judge should be used to determine which unclear situations do not apply to the standards of this country. If we use these same standards to examine history from ancient times to the present, and follow the example of natural life in terms of what we feel and hear, then the classical records of the past offer ample evidence. In this way, chaotic people moved from non-cooperation to accepting unification and the nation accepted national standards. However, measuring all things must accord with human nature and the logic of life. It is important to note that if the government wants to do anything, it must first measure the lives of its people to determine the best standards.”

In his work Shih is like a thinker wandering between reality and eternity, using art to reinterpret the ultimate meaning and value of living.

About Expressive Form: Descriptive Structure of Post-Deconstruction Reconstruction

After his second solo exhibition, Shih’s judgment of the relationship between the meaning of theme and overall style was unassailable. This can be attributed to the increasing maturity of his ceramic art technique and unique expressive form.

Since the 1950’s, ceramic handicraft techniques have not only become one form of artistic expression, they have also been influenced by modern art theory. Ceramic production technology has been revolutionized and innovated, the techniques and processes themselves infused with meaning, becoming part of the expressive content. In terms of ceramic manufacturing technology, the numerous formula and combinations of clay and glaze, together with the high degree of changeability in firing forms and techniques, make it difficult to calculate the true degree of diversity. Given this diversity, how ceramic artists are supposed to develop unique expressive skills and forms, molding an ideal style in the process, poses a major test for everyone. After the baptism of modern art theory, traditional, cautious techniques were challenged in many ways, but we can see in Shih’s works his preference for a more cautious approach, expressing the precise and perfect combination of fire and clay. In this way his works display the classical features of symmetrical balance, dignity and solemnity, while also expressing a dualist form. This is a remarkable achievement for a ceramic artist who is only 30 years old. However, beneath the seemingly balanced and stable exterior is hidden a sense of restlessness. This is because the artist uses a form of expression that takes post-modern theory as its foundation. The descriptive structure of post-deconstruction reconstruction fills the works with explosive tension.

The basic method in the expressive form of Shih Hsuen-yu’s work is the descriptive structure of post-deconstruction reconstruction. The methods he uses are assembling, positioning and simplification. One of the special features of Shi’s work is the way in which he assembles various symbol elements, displaying a unique narrative nature. Most of his earlier pieces featured mixed media use of ready-made objects, like glass test tubes, chains, sliding weights, steel wire, wood etc. In the later half of his career, works have been simpler in terms of the selection of ready-made objects, with most being printed barcodes, numbers, old classics, computer viruses, traditional patterns and words from different languages. These have been used as symbols intimating at meaning, describing various phenomena that have arisen as a result of scientific and technological progress. A second special feature is that the style of the work is made up of counter-posed or equal forms. At the same time, the content described is simplified to a dual thought form, emulating the two dimensional forms of yin/yang, day and night, left and right, 0 and 1, as presented in the Book of Changes. A third feature is that the artist changes the placing of existing operating models or rules for a new logical mode and exaggerates them in an unreal way. Examples include an English word or sentence converted into numbers and then a barcode or illegible ancient prayers, a self-created poem and not an ancient text. This expression utilizes the inherent meaning of barcodes and old prayers themselves, to make it seem as though the work can be described. On the other hand, the artist also deconstructs the meaning of barcodes and old prayers, in an attempt to break the direct reaction people have as a result of habit. Consequently, although the form of the barcodes is the same, the meaning is very different. This way of creating, being deliberately mysterious or amusing, gives people the misconception of belittlement, indifference, parablepsia, misplacement and distortion, forcing them to consider whether their judgment of a phenomenon is too casual.

It is as a result of this assembling, simplification and position swapping form of expression, in combination with the ceramic techniques he is so adept at, that Shih Hsuen-yu is able to create works that arouse our interest. Over the last ten years, these qualities have been continually used in his work, infusing them with a consistency and uniformity. They have also become an organic life process for the works themselves, expanding the meaning and value the artist wants to convey.

Value and Meaning: Close the World / Open the Next Just to Live

Shih’s fourth solo exhibition “Close the World / Open the Next” was held at the Taipei County Yingge Museum of Ceramic Art in 2004. The main theme was an exploration of how the communication foundation between people is established and where it is located. As it says in the “Lu Li Zhi” section of The Book of Han: “A national set of unified standards for the measurement of musical scales, length, volume and weight, created a foundation of trust for people both near and far. However establishing measurements is an extremely complex and careful process, so that ultimately: “The masses finding themselves in a state of confusion begin to accept a unified system, first one, then ten, one hundred, one thousand, ten thousand etc. until finally everyone accepts publicly determined standards.”As such, “The calculation of all things must accord with human nature and the logic of behavior.” This is the only way to devise accepted standards, angles, weights, volumes etc.” In other words the establishing a foundation for communication between two people involves following the destiny of all things - the idea of following nature and not any fixed-rule system. It is exactly this sort of value that the “Close the World / Open the Next” series expresses.

In the work “Sitar,” Shih uses the traditional Indian stringed instrument as his main form. The two symmetrical voice boxes and the strings are very pronounced, the playing method being very much like that for the Chinese gu zheng (a traditional multi stringed instrument that is plucked). The most unique thing about the sitar is the way in which it comes into being not its form. Each sitar master has to play an instrument sitar he or she makes personally. There are no restrictions in terms of the number of voice boxes or strings and also no fixed tune or rhythm. The music played depends on how the performer decides to play. Despite the lack of rules and the fact that the music played is determined by the feelings of the musician, sitar music is actually more able to move the listener. This work seems to say, the rules for communication and languages between people are not eternal and do not have to be just like that. There should be more important, more fundamental and more meaningful things. In this way the sitar player uses the instrument to present his or her own his rich feelings, respect the nature of things and expressing their vibrant vitality.

“Windward” copies the form and principles of a rotating wind speed meter in a meteorological instrument. The central steel tube, the horizontally spinning wind cup and grinding mortar-like base are made of clay, fine and ingenious. This small piece of equipment can investigate the most evasive and unpredictable thing in the natural world - the wind. Because the wind constantly changes, the World Metrological organization stipulated winds should be measured in ten-minute units, to calculate average wind speed. This seems to imply that everything is rapidly changing and that all rules just follow what is convenient for human communication. There is not need to be too focused, the original features and state of things is really the basis of measurement.

The value and meaning of the “Close the World / Open the Next” solo exhibition, lies in the way of living it presents as the nature of all things. As with the large feathered wings and shining eyes in “The Wings in the Wind” it seems that all the rules of the world are unimportant. The wings are raised and the eyes open, so that when the wind comes the wings carry us high across the vast sky. The solo exhibition “Close the World / Open the Next” solo exhibition is the culmination for Shih Hsuen-yu of ten years of creative work. It is apparent that he has broad vision and ambitious creativity, with which he has established a new milestone in his own personal art world.
]]> http://www.unit-9.com/blog/article.asp?id=35 <![CDATA[遊走於現實與永恆之間的思辯者-論陶藝家施宣宇的陶藝創作]]> unit.office@gmail.com(Samuel) Sun,01 Aug 2004 17:52:51 +0800 http://www.unit-9.com/blog/default.asp?id=35

遊走於現實與永恆之間的思辯者
- 論陶藝家施宣宇的陶藝創作 -

閱讀之後，陷入沉思，是看過施宣宇陶藝作品必然引起的行為反應。因為，一方面，他透過獨特的造形、繁複且意含深刻的裝飾細節，傳遞一種嚴肅、神秘、形而上學似的旨意，宛若哲思者殷殷切切的叨絮，散發若隱若現的智慧微光；另一方面，他對土與火純熟與精確的掌握，與幾近完美的形式美學要求，全然顯露於作品的外在形貌中，著實令人驚嘆。正是深刻的主題和完美的造形之特點，與兩者之間相互牽眷、相互激盪之關係，施宣宇的陶藝作品引人反覆咀嚼卻又意猶未盡。

關於主題：遊走於現實與永恆之間
作為一位藝術家，施宣宇的創作選擇從觀察社會現象開始。自1994年第一次「調和波長」個展開始，至1998年第二次「蒼穹脊索」、1999年第三次「御風瀚羽」個展，到2003年，這十年間施宣宇的創作源起於對當下社會現象的觀察，他所關心的主題多半圍繞在人與社會的互動關係與形式上，包括被機械約制的時間觀、標籤化與條碼化的社會新秩序、被消費的宗教狂熱現象、文字符號運用的世代差異等。這些主題反映了作者身處之環境的新社會議題。正值雙十年少的他，站在突如其來的生活科技流行的狂潮中，體驗到新舊社會交替的現實景貌：通訊、運輸、電腦等科技的高速發展改變了人們實質與無形的交流模式。這新生活型態與過去貫常的步調截然不同，足以加速改變並改造人類建構許久的社會網絡。作者是將這樣的現實體驗，轉化為藝術形式，讓人們從他的放大鏡中遇見生活的實在樣貌。

從時間發展序列看來，施宣宇十年來的創作係從描述或詮釋社會現象，進而形塑並傳達他在現象背後所思考的形而上觀點。自第二次個展之後，可能是因為年齡的增長、也可能是沉穩性格之故，施宣宇在作品中逐漸顯露對宗教、哲學或傳統古典思維的濃厚興趣，並經常自古書典籍中尋找現象背後的道理與邏輯基礎，充分反映了作者對哲學思辯的興趣與追根究底的態度。如他將一貫關心的社會議題，逐步抽絲剝繭地聚焦在人與人互動之基礎：文字語言，並從其差異處開始，進而深入探討人際間行為規範的建立與規準等形而上問題；也因此，其作品的表現手法自反諷、戲謔的口吻，如《御風瀚羽The Wungs in the Wind》用磅秤、用量杯傳遞計量時間的「重量」的荒謬現象，轉而為古典、嚴謹、莊嚴的表述，如《吉慶塵世/狂戀三秒天平信使大冒險》運用聖經中的故事典故，表現對時間的一種思辯歷程。

從此序列發展看來，施宣宇試圖以藝術形式轉譯古人的智慧，傳遞上帝（造物者）的旨意。他在探究當下社會變動之現象的同時，從經典中找到思維的依據，在古人的話語中遇見智慧的光茫，再以崇敬、謙卑之心，隨著前人的腳步溯源現象的原始，再用造形、色彩具體化於藝術形式中。如2004年「制器規圜」個展，其精神來自《漢書》〈律曆志〉的啟示。

「虞書曰乃同律度量衡，所以齊遠近立民信也，自伏戲畫八卦由數起至，帝堯舜而大備三代稽古法度章焉。周衰官失，孔子陳後王之法曰，謹權量審法度，修廢官舉，逸民四方之政行矣……一曰備數、二曰和聲、三曰審度、四曰嘉量、五曰權衡，參五以變錯綜其數，稽之於古今，效之於氣物，和之於心耳，考之於經傳，咸得其實，靡不協同數者一十百千萬也，所以算數事物順性命之理也，書曰先其算命……制器規圜矩方、權重衡平準繩嘉量」（漢書．律曆志）(註1)在創作中，施宣宇就像是一位遊走在現實與永恆之間的思辯者，用藝術重新詮釋人類立命的終極意義與價值。

關於表現形式：解構後重構的陳述結構

自第二次個展之後，施宣宇的作品在其主題意義與整體造形之關係上，即拿捏得幾乎無懈可擊，這歸功於他熟稔的陶瓷製作技術與獨特的表現形式。自1950年代以後，陶瓷工藝技術不但成為藝術表現技法之一，受到現代藝術理論的影響，其製作技術不斷地被革命、創新，技法本身與過程也被賦予意義，成為表現的內涵之一。在陶瓷製作技術上，因土、釉之複式配方成千上萬，燒成形式與技巧亦變化性高，其多元程度難以計數，陶藝家如何在此多元性中，找到個人獨特的表現技巧與形式，形塑心目中理想的造形，實為一大考驗。受到現代藝術理論的洗禮，傳統、嚴謹的技法受到很多挑戰，但我們從施宣宇的作品體會到，他選擇以嚴謹的態度，表現土和火之間精確且完美的組合，使其作品能在二元形式的表述中，展現對稱平穩、莊嚴肅穆的古典特質，這對一位屆年三十的陶藝創作者而言，實為難能可貴。然而就在看似均衡穩定的表象下，隱藏了一股騷動的氛圍，這是因為作者以後現代理論為基礎的表現形式：解構後重構的陳述結構，讓作品充滿許多爆發性的張力。

施宣宇創作之表現形式的根本法則是解構後重構的陳述結構，他所使用的方法是拼湊、換置與簡化。施宣宇創作的特質之一，即是以拼湊多種符號元素，展現獨特的敘述特質，早期的作品多半跨媒材使用現成物，如玻璃試管、鏈條、秤錘、鐵線、木材等，後半期作品則在現成物的選用上更為精簡，且多以拓印條碼、數字、古文經典、電腦病毒碼、傳統花紋及世界各國文字等，作為意義指涉的象徵符號，陳述因科技進步而產生的各種現象；特質之二，將作品造形以對立或對等之形式組構而成，同時也將陳述的內容簡化為二元的思維形式，仿效如易經提示的陰與陽、日與夜、左和右、0與1等二維形式；特質之三，將既定的運作模式或規則，換置一套合乎邏輯的新模式，重新演義。如一個英文單字或句子轉換成數字後，再轉換為條碼；彷如天書的古祈禱文，只是一段自創的保育詩篇，而非古體文本。此表現，一方面借用條碼、古祈禱文等自身散發的意涵，讓作品顯得可被陳述，另一方面又解構條碼、古祈禱文本身所具有的意義，企圖打破人們因習慣而產生的直接反應。因此，條碼的形式相同，意義卻已大異其趣。如此造作、故作神秘或莞爾的做法，讓人驚覺有輕忽、漠視、錯視、誤植、曲解之錯覺，不得不自省對現象的判斷是否有過於草率之咎。

施宣宇的創作正因此拼湊、簡化與換置的表現形式，與他熟稔的製陶技術，交疊出耐人尋味的作品。而這十年間，由於它們持續被延用於作品中，使得施宣宇的創作具有一貫與統一性，也成就了作品自身有機的生命歷程，更綿延了作者所欲傳達的意義與價值。

價值與意義：制器規圜以立命而已

施宣宇2004年在台北縣立鶯歌陶瓷博物館的第四次個展「制器規圜」，以探究世人彼此間的溝通基礎是如何建立的及其基礎何在，為創作主題的軸心。誠如漢書．律曆志所昭示的：「同律度量衡，所以齊遠近立民信也」，然而建立度量衡的步驟與過程如何繁複、謹慎，終究「靡不協同數者一十百千萬也」，所以「算數事物順性命之理也，書曰先其算命」，然後「制器規圜矩方、權重衡平準繩嘉量」。是故，建立彼此溝通的基礎，在於順應事物本身的天命：一種合乎自然本性之理，而非任何一種既定的規則法度。「制器規圜」系列作品所彰顯便是這樣的價值觀。

如作品《制器規圜之漂流雙西塔》，作者以印度傳統絃樂器「西塔琴」為主要造形，對稱的兩個音箱和琴弦十分突出，彈奏形式猶如中國古箏。西塔琴最為獨特之處在於它的誕生形式，而不是造形。每一位西塔琴師需要以自己製作的琴來演奏，琴的外形上沒有幾個音箱、幾條弦的限制，也沒有固定的音調與旋律，全憑琴師決定如何演奏而定。如此不以章法而以演奏者之心性而發出的樂章，反而是更能撼動人心的創作。此作品彷彿昭示著，人際間的律令規章、言語法度並非是永恆，也亦非如此這般不可，應該還有更重要的、更根本也更有意義的，如西塔琴師用自己的樂器演奏著自己豐沛的感情般，尊重事物之天性，以展現其自身活潑的生命力。

又如作品《風切八方Windward》，是仿氣象儀器中的旋轉風速計的造形與原理而作，除了中心的鋼管外，水平旋轉的風杯與如磨臼的底座皆以陶土做成，細緻而巧妙。這小小的設備即可探知自然界最捉模不定的風，因為它的瞬息萬變，世界氣象組織還規定以十分鐘的測量單位，計算其平均風速。而這似乎暗示了事物是瞬息萬變的，所有的規則皆只是順應人際間溝通的方便，不需執著、也不用執著，事物原本的特性與狀態才是評量的基礎。
「制器規圜」個展所彰顯的價值與意義，正式以萬物天性為本的立命之道。正如《御風瀚羽》，一雙大羽翼與明眸，彷彿世界的各種規準一概不重要了，鼓起羽翼、張大雙眼，等待風起時，展翅高飛，海闊天空。「制器規圜」個展可稱是施宣宇十年創作心得的總整理，可見的是他以更為宏觀的視野、更具野心的創造力，建立他個人藝術世界的新里程碑。

]]> http://www.unit-9.com/blog/article.asp?id=34 <![CDATA[微型劇場上演的文字敘事詩篇—施宣宇1994--2004年創作作品回顧]]> unit.office@gmail.com(Samuel) Thu,01 Jul 2004 17:46:45 +0800 http://www.unit-9.com/blog/default.asp?id=34

微型劇場上演的文字敘事詩篇
施宣宇1994--2004年創作作品回顧文/呂佩怡

「文字只是線索、謎題、痕跡和密碼」
「文字是記錄語言又是代表語言的符號，我們可以說它是符號的符號 ..」
「文字是記錄語言的符號體系。」
「文字密碼是一種對共同記憶的操控魔術」
「文字是咒語，叫喚出記憶；文字是謎題，讓聽者猜出答案；文字是譬喻，讓接受訊息的人從已知去導出未知；文字是履霜而知堅冰至，一點寒霜，不必等到漫天飛雪就讓人在心頭重建白色雪國模樣而打起寒顫。……..」

從1994年第一次的個展至今，十個年頭過去了，施宣宇從二十歲一腳踏入三十歲的行列，而那些他所製造的符碼文字在這十年中衍然已發展出自己的系統，在他以陶所搭建的微型劇場中輪翻上陣，舞台形體與背景隨著時日移轉而略有變化，而其上的文字主角也不斷以不同樣貌粉墨登場，不論是刻於陶土之上的條碼、數字天書、古文經典、電腦病毒碼、傳統花紋及世界各國文字等，各自佔據一個或長或短的時期，叨叨訴說著施宣宇的當下心情，以及他對文字消逝的懷舊與擔憂。

文字的生滅、變易、演進與施宣宇一向持有的中心思想不謀而合，也是易經中所說的道理：「一方面探索宇宙萬物莫不時時刻刻在變易的現象，另一方面又追求在這種恆常變易中不變的道理，因此形成陰陽、動靜，一切沒有絕對，而只有相對的思想體系」。這樣的觀點可以用一個簡單的成語來形容，我們常說的「刻舟求劍」便是試圖在漂流大海上、移動中的船身刻下固定的記號去標明剛剛劍所落下之處，而希臘的哲學家也有同樣的見解，曾表示：「我們不可能用同一隻腳，放入同樣的水流中兩次。」

「刻舟求劍」這樣徒勞無功的舉動，與我們不斷試圖去規劃、去定義世界萬物是一樣的道理。從時間軸（格林威治線）、經緯線、各大洋大洲、國界、所有的用來規範的法律及施宣宇常用的「文字」元素等等，皆是人在茫然不知所措的宇宙之中安身立命的方法。許多人只知道必須去遵守這些規範，卻不知其所來處，不知變通的墨守成規，或輕蔑地拋開一切。在這個思想軸上，「變易不易」的觀點便是對世間一切規範了然於胸，但不固守、不執著，而在變易之中用自己的步調前行。這個觀點貫穿施宣宇的作品進程，把握此原則便不難了解他每個時期面貌各異的創作。
《調合波長》的條碼時代

1994年，剛滿二十歲的施宣宇開了第一次的個展，展出的作品多令在場來賓驚嘆：這個世界變得太快，世代間的代溝怎麼這麼深，這麼明顯。被稱為新生代陶藝家的他以「條碼」、「試管」、「鏈條」、「秤錘」、「鐵線」、「木質」等，展現出陶藝界新鮮的景況，也做為調合彼此不同思考波長的開始。另外，這系列作品的奇怪名稱也是令人印象深刻的部份，例如「匯集空中索道」、「找出幕後的馴獸師」、「由地底竄出」、「老實泉」等，讓人莫不會心一笑。

「條碼」是施宣宇文字王國所派出的第一組小兵，長長短短的黑柱體組成一長方形符碼，代表一組數字。條碼在那個年代還算是個新奇的東西，百貨公司與賣場才剛開始全面性的用條碼取代以往的標籤貼紙，大家對條碼的好奇感還反映在紋身貼紙的流行上。條碼資本主義是大量生產之後所產生的管理方式，是制式化、規格化、沒有個性的符號，是冷漠都市的商品密秘身份。但對施宣宇而言，「條碼」不再是科時代的冷漠符碼，反而成了古老溫厚的陶土上專屬的密秘言語，是他的心情紀實。

每一組條碼皆是一組符號，暗藏著他年輕而希奇古怪的想法，也都可以翻譯出屬於自己的意義。破解密碼的方式是先將條碼轉成數字，數字再對照英文字母，而變成英文之後將會是一個單字或一句子。每個下凹的條碼引起人許多的聯想，也許是像是盲人點字書一般，可以用觸覺去了解，觸碰的指尖可比擬成店員手中條碼掃描器，密語在掃描光線下現身。也像是馬雅文化中古老的文字磚，記載著我們無法辨認與了解的過去，需要由轉譯、再解讀的方式，成為人人能懂的當代言語。

此次展覽所出現的元素成為他日後作品中的原型，包括：做為作品內容的「文字」軸線；「玻璃」、「木頭」、「金屬」與現成物的跨媒材使用；「變易不易」的思想觀，這三個主要部份。

《蒼穹脊索》‧數字天書啟示錄

隔了4年，在1998年的《蒼穹脊索》個展裡，條碼消失了，取而代之的是「數大便是美」的數字天書，不論外型是什麼，都刻印有或多或少的數字句，同樣的，如果可以把數字對照英文字母的排列便可以解開密碼，而得知天書啟示。

在這一系列作品裡，「正反二元論」的觀點有很重的論述性，他以虛實空間的對照、左右分割及物件成雙出現的方式，去陳述他心目中對於宇宙與人生的看法。作品《蒼穹脊索》的兩塊對稱卻相異的陶面，以東方哲學中的陰與陽，象徵了一體之兩面的相對世界，其中一虛一實的準錐是他所強調的天體基點，此作品中的「虛無」面來自施宣宇不帶期待的一甩，「我只是把陶土甩開來，讓表面出現自然的裂痕，陶土變成什麼樣子就是什麼樣子」；而「實有」面則來自這個少年哲學家慎密的思惟與設計，密密麻麻的阿拉伯數字刻印於表面，數字天書翻譯成英文後，是一篇篇耐人尋問的聖經預言和坦陳生命的詩文。

立基於「正反二元論」，他發展出介於中間或做為分界，代表人的意識的「準」與「軸」。「事物本身並未改變，只是人們從立足點看待它的角度不同」，他說，而人們的立足點即是作品中的「準」與「軸」。這個概念延伸到「時間」議題，在作品中大量出現時針、分針、秒針及長舟形體，訴說的不只是時間得流動，更多的是宇宙間陰陽互消長的力量。《天子午線》作品說的便是人類對時間的定義，虛構而不存在的時間分格線直接挑戰了時間的權威。《漂蕩的時間觀點》作品則以古哲人赫拉克利特「萬物都在流動中」為概念原型，將時間的飄流意象置於大海之上，七個時鐘排列於船形底座，波浪隱身成時鐘的一部份，正如作品標題所言，時間是漂蕩於如海廣闊無邊，深不可測的宇宙蒼穹之中，因此人為的時間規範僅只是自我欺瞞。

《御風瀚羽》‧堆高的文字城垣

1999年的個展《御風瀚羽》與《蒼穹脊索》基本上是較接近的階段，在形體上施宣宇試著從橫躺的舟狀，向上拉高、向內包圍，築成一個層層包覆的堅強主體，此一主體一樣是由虛無的自然裂紋與實有的數字天書所構築而成，最中心便是「軸」的所在。

「微型建築」與「機械美學」可以用來形容這個時期作品的特質。施宣宇試著脫離平面或牆面，而以組裝結構讓作品拔地而起，這時期的作品與其說是「小雕塑」，不如以「微型建築」來描寫，這樣的創作來源於「乘機械美學之翼：談御風瀚羽--施宣宇陶展」一文中說道：「施宣宇的機械美學來自於當兵時的海軍陸戰隊生活，龐大的軍械庫、圓筒狀碉堡、優美弧形的船身、風帆的張揚、錨的符號、準的意象都帶給他機械世界的震驚。而從海上到陸上，施宣宇的機械美學也來自現代建築，尤其是後現代建築的有機形式，不確定、動勢、斷裂、緊張、雙重譯碼、多元辯證等建築語言，二十世紀建築大師科比意（Le Corbusier）的朗香教堂、薩利能（Eero Saarinen）的紐約TWA航、蓋里（Frank Gehry）的西班牙古根漢美術館等，船的意象或飛翔的雙翅都給施宣宇的機械美學帶來靈感….」

此一時期也出現一具體的人形，被稱做「天使」或「光之武士」，它們沒有五官表情，卻有飛翔的雙翅，但雙翅不是柔軟的羽翼，而是帶著濃重的機械風味、有承軸的接合點、有弧狀的主體與方向舵般排列、一整排展翅高飛的羽翼，它們通常是以俯視的角度，站倨中心，或居於高處。「飛翔」在此階段取代了「海上漂蕩」，成為掙脫準則軸線的新法。施宣宇說：「我並不渴望自由，但渴望以飛行的角度，站在頂端看世界的重整」，於是他創造了天使，從另一種高度，冷眼旁觀、俯瞰紅塵。

不論是漂蕩之舟還是天使之翼，施宣宇的作品一直傳達著移動的渴望，然而「陶」的媒材特質是「厚重」、「穩定」、「落地生根」、「溫暖」，與他所想要傳達的「冷靜」、「動態」、「飛翔」等有矛盾之處。但從另一角度來看，這樣的矛盾正反映了人性的現實面，就像人總是想在宇宙世間抓住什麼定律、法則、尋找一些可以安定身心的方式，但人的內心從不曾停止變動，於是人的一生就在這種「動」與「不動」之間掙扎。施宣宇的作品恰恰也以媒材的特質傳達了這樣的矛盾掙扎痕跡。

套包結構的微型的舞台

藝評家黃海鳴曾在文章形容施宣宇的作品特質是「多層次的的『套包結構』」，「陶器經常傳達的的是一種母性的容器觀念，而在他的陶藝作品，更加具體的往一種述事性，以及微型的舞台方向發展。」，不可晦言地，他的作品一個階段比一個階段複雜，這個微型敘事舞台上演的劇碼越來越精彩，越說越多，叨叨絮絮、不厭其煩向觀眾傳播他所信仰的藝術之道。

「微型的舞台」的說法很貼切施宣宇的作品，主要在於他的作品細節很多，必須慢慢閱讀、細細咀嚼，敘述性很高，每個符碼都有其對應的意義，例如「條碼」、「數字」、「文字」、「亂碼」等皆是呼應或陳述作品的重要元素；「文字與數字之間的轉譯」則是討論文字傳遞過程中不可能消除「測不準原理」式的誤解；「舟」、「翼」的造型有移動、離開或掙扎困境之意味；「時鐘」代表時光的流逝與我們對時間的不同定義；「天使」則是人的化身，甚至是他自己的心境象徵；「迷宮」即是人的迷失之所；「白色米粒」指涉人為五斗米折腰的辛酸；「小沙袋」或他所說的「熱氣球」是人面臨選擇時所願意拋下的東西…..

此一微型舞台的觀看點上隨時間前行而有所變化，先是單一平面，所有的資訊可以一眼望盡，之後變成了立狀或舟狀形體，觀眾必須環繞而行，由上下左右去尋找細節，這時期的軸線還是單一的，施宣宇所強調的「準」與「軸」還是位於立體物橫向的中心位置。再之後，「軸」隱身為「秤錘」、「玻璃試管」、「勇氣熊」、「天使」等，有的連代表的「軸」本身都可以旋轉。軸在他的思想體系裡由「靜」到「動」，由「單一軸線」到「變動軸心」。2002年之後，作品方向與軸心產生異位，他們從同一平面變成軸在橫向面，但作品的整體走向卻是往高度面向發展，軸線的異構讓作品的面向越來越多，且越來越繁複，使原本僅是一線之隔的實有與虛無的對立，轉變成介於兩者之間灰色中介空間的擴大，二元對立變成了多元並存。

錄像裝置的新嘗試：「過境」的中介空間

這個微型舞台除了可以用來解釋施宣宇以陶為媒材的作品，也可以在2000年底，他首次嘗試錄影媒材的「錯速:錄像裝置展」的「過境」作品中找到痕跡。「過境」是他與沈大昌的合作搭檔，展場位於華山藝文中心，這件作品雖然拉出了陶的範籌，但以煙霧做為影像的螢幕則延續了「火」這個他所熟知的元素。「施宣宇、沈大昌的「過境」將華山視為一特定時空下，虛實相會的「過境」場域，他們以流瀑般的、可見卻無法觸摸的乾冰形成銀幕，投影其上，恍惚的人影喃喃自語、游魂般的飄飄蕩蕩。」

「過境」作品的影像內容以一張母體中的「胎型」掃描照片為主體，做為影像的底圖，其上則剪接了從出生、成長到死亡的生活細節，位於母體中的這一時刻是跨越了兩個世界的交會點，也是他一向強調的中介點，「上輩子尚未結束，下輩子尚未開始。相同的個體，跨越兩個對立時空，構築出完全相異的混亂速度。前者即將倒數，後者遙遙無期。」於是，其上的影像是記憶殘影，不停的在眼前閃動，一幕接著一幕，一瞬間，人生的膠捲全部撥完。在這個煙霧影像之上一樣有施宣宇叨叨敘敘的個性，「多層次的的『套包結構』」，及正反二元世界與中介空間的「準」之間的討論，只是這次抽掉了陶，而以錄像裝置的外表來呈現。

文字考掘學：「語文消化工程」

從條碼、數字書之後，施宣宇的文字王國該推出什麼王牌呢？1998年夏天的美國西岸聖塔安納藝術學院陶藝營及2001年獲選文建會海外駐村藝術家，至美國安德森藝術村駐村，這兩個「生活在他方」的異地能量補給站，帶給他藝術創作上的往內深思。由於語言溝通的困擾，加上時空的錯置，藝術家特有的感受力特別的敏銳，對於語言文字有了不同角度的新認識，產生了「語文消化工程」此一階段的創作。

施宣宇對於「語文消化工程」的說法是「像是盲人般能聽聲辨位，或聽障者的讀唇知語，當各國語言文字化為元素，將只剩斷續的音頻與規格化圖騰，在這種閱讀語言中，細節和韻律都變的非常明確，每一個「單位」間的休止符、音頻、音量、臉部與全身的肌肉運行等都必需精確無誤，而這消化過程更讓我開始檢討，過去我們所大量使用的書寫文字與影像閱讀，也許在某個層面下，似乎是一種丟棄記憶與感應的方法。藝術村中來自世界各地，各種語言背景的村民，在這裡卻繁衍出了另一種溝通方式，更在破除文字隔閡之後產生了新的共存模式，一種回歸天地之心的地球村思維。」

「語文消化工程」讓施宣宇開始回首自己的語言，當他發現台灣已是世上僅存繁體中文體系的孤島時，他開始從古籍著手，將流失、湮滅、線索中斷、失憶、痕跡不可辨識的文字廢墟加入他的文字王國行列。他說道：「從鐵雲藏龜到爾雅音圖到說文解字到康熙到辭海到BIG5碼大五，文字的演進依然是個謎，唯一不變的，是它將繼續前進。」在這一階段他所要做的便是探尋這些失落的文字，將之建構入自己的作品，從此施宣宇的文字王國又多了一則。

失落文字的尋找計劃：繁體中文消逝的悲悼

再者，電腦的普遍使用，手寫文字越來越少，許多國文教師皆在感嘆學生的認字能力及手寫文字能力明顯衰退，主要原因即在於電腦打字及各式的輸入法，讓使用者對於拼音的音感，或字體的結構越來越陌生，且電腦的影音圖像及網路的大資料庫取代了以往以閱讀習字為主的知識學習管道。在科技時代裡，某一方面我們汲汲向前，另一方面也失落許多，文字，尤其是繁體中文的失落成了施宣宇此一階段的關心重點。

施宣宇發出疑問：「當數位時代殲滅了時間與空間的障礙，破除了國與國，文化與地域的疆界，我們是否在狂潮中迷失自我。」他推論著：「在新世代國度裡，寶寶不再書寫文字，轉以鍵盤、滑鼠或語音，不再閱讀語文，以圖片、影像或訊號來截取。」在這個數位神祇，晶元崇拜的新世代裡，文字似乎將從功能層次退隱至美感及懷舊層次，就像古籍之中那些我們似懂非懂，可翻譯或無法辨識的古文。文字已死去，文字被封存，像地底的特洛伊，像火山灰厚厚覆蓋的龐貝古城，甚至像安地列斯冰冷山頂蒸發而去的馬雅王國，或沉入海底再也不會浮現的亞特蘭提斯。

漂移駁二/希望重整：文字的再生與死亡

從尋找、調查、訪談之後，施宣宇在2002年的「語言消化工程之漂移駁二/希望重整」將文字混合雜織，並將陶的單一觀看性擴大為裝置、行動、錄影紀錄及與觀眾互動之多層面作品。

施宣宇在創作自述中說：「藉由「土牆」的崩裂與重整，來推翻文化圍籬的監禁還原與再生。藉由「文字」的失落漂蕩，來記錄語言文字的漂移與人、非人等的原始希望。」這件焋置作品佔地面積極大，施宣宇以陶土與文字製造一處文字骨牌、圍籬或稱之監獄，他以四百餘個生坯土磚堆疊一面牆，每面高二公尺、寬一公尺、厚0.2公尺，像巨型骨牌造型，共二十一面牆，每面牆上刻有新世代語文消化中的異種文字產物，混合、複製、雜交、誤解與變型後的詩篇，以及當地居民自己刻上對未來的希望宣言。在開幕當天有一推翻文字圍籬的行動，將各國、各族群、各年齡的希望文字，都以骨牌傾倒崩解的模式串連在一起，將所有人的小希望匯集成一個大希望。

然而，被推翻的文字牆是混合為一了，但最後剩下的只是飛灰煙滅的一堆黃土，在當下我們所能夠觸摸、憑弔的唯一真實，只剩下那一大片廢墟的形象。文字安靜的展示它們的死亡。「文字的死亡」是這個作品最真切的面貌。

制器規圜：華麗繁複的折衷融合傾向

2003年再回到陶的材質，施宣宇以「制器規圜」為題，準備在鶯歌陶瓷博物館的個展。「制器規圜」仍是延續之前「變易不易」的思想主軸，他取材前漢書中「志」卷之「律歷志」，把之前他所談的「準」，從古書中找應證，律歷志中標定世間量度之準則，分別為規、圜、矩、方、權、重、衡、平、準、繩…等，乃至宮、商、角、徵、羽…各音頻等，「從調整準衡中衡準調整，求得衡準而得以調整之」，因為有「準」，世界才會有虛實、陰陽之別，他作品得對稱性仍然延續。

這次展出的幾件作品除了以往的長舟、飛翼等形體，還加入了樂器，尤其是神秘的印度西塔琴成為首選。據說西塔琴是沒有琴譜、沒有固定的音調，每一把琴都是獨一無二的，所有的音樂都是由該把琴的特色去模索出來的，彈奏出的音樂，當然也是世間唯一的。西塔琴有單音箱及雙音箱，弦在上方，弦也沒有固定的數量、長短、粗細，全憑樂師自己的喜好，這一點與施宣宇一直以來所尋找的變動中心準則的概念不謀而和，我們每一個人都像是西塔琴的琴師一般，為自己的人生譜奏出屬於自己的音符。

在形式上，這一系列以西塔琴為形式的作品，將上方的弦柄處做為「準」，但同時也有「秤」的意味，而下方的音箱則是密密記載文字的所在，在此施宣宇拼湊失落的史籍，有「本草綱目」、「天工開物」、「說文解字」、「漢書」、「爾雅」、古典花草紋，還有當下最新的電腦病毒碼等，字體的排列更精密與工整地，以單螺旋的漣漪狀，或是雙螺旋的印第安輪的排列，而每個接合點則有菊花型的釘隱做為裝置，他在這一階段是展現極度的耐心與細心，並將所有元素並置雜交融合，呈現一種後現代無關聯性的拼貼及華麗繁複的折衷融合傾向。

極度繁複之後

從簡樸的小詩到華麗的駢文，施宣宇的作品在一貫軸線中行走，幾經轉折變動，而至如今。「極度繁複之後，該是什麼呢？」我問，「應該會是另一種完全不同的極致吧」：施宣宇說。

我殷切地期待下一個十年。

Word Narrative Poems on a Micro Stage:
A Retrospective of Work by Shih Hsuan-yu 1994-2004

Lu Pei-yi

“Words are just clues, riddles, tracks and code”
“Words record language and are symbols that represent language. We could say they are the symbols of symbols”
“Words are a semiotic system recording language”
“Word code is a kind of common memory control magic”
“Words are curses, calling on memories; words are riddles that let the listener guess the answer; words are metaphors, allowing the recipients of information to derive the unknown from the known; words are like walking on frost and knowing the strength of ice; a little frost, and it is not necessary to wait for snow to fill the sky before you rebuild a snowy world in your mind and begin to shiver.”

It is ten years since Shih’s first solo exhibition, during which time he has gone from being 20 to 30 years old. In these ten years he has developed his own system of symbol words, which have appeared in his ceramic micro theater. Although the shape and background of the stage has changed over time, the main word actors have continued to make appearances in different guises. Whether barcodes etched in the clay, secret message numbers, ancient prose and classics, computer virus code, traditional patterns or words from various languages, all have appeared for different periods of time, telling us how the Shih feels at the time, his nostalgia and concern for disappearing words.

The life and death, change or evolution of words, has always matched Shih Hsuan-yu’s central ideas, as it says in the “Book of Changes”: “On the one hand we always search for signs of change in all the things in the universe, on the other we also seek eternal principles as part of this process of permanent change. This results in the formation of the philosophy of yin/yang, where there are no absolutes only relatives. This view can be expressed in a simple proverb: “Put a mark on the side of one’s boat to indicate where a sword has dropped into the water” which means taking measures without regard to changing circumstances. Greek philosophy also has a similar idea saying: “We cannot put the same foot in the same flowing water twice.”

This kind of useless act is the same as people continually trying to plan and define everything. The “Greenwich Mean Line,” longitude, latitude, oceans, continents, national boundaries, laws used establish standards and the “words” often used by Shih Hsuen-yu, are all ways in which people seek to live in peace in a universe they remain ignorant of. Many people know only that these norms have to be obeyed, but do not know where they come from, whether to stick to established practice or to cast them aside. As part of this, the idea of “difficult change” involves knowing all the rules of the world, but not adhering to them inflexibly, but moving forward at one’s own pace. This viewpoint runs through Shih’s work. Understanding this principle, it is relatively easy to the differences that appear in his creative work in different periods.

“Be in a State of Equilibrium”

Shih Hsuan-yu held his first solo exhibition in 1994 at the young age of 20 and the works he showed astonished the guests: The world changes too quickly, how is then that the generation gap between eras is so wide and so marked? Called a new generation ceramic artist, Shih used “barcodes,” “test tubes,” chains, sliding weights, steel wire and wood, to display new developments in ceramic art. He also started to work on achieving harmony between different thought wavelengths. The weird names of the pieces in this series of works also made a deep impression on viewers. For example, “Pledge of Blood” “Look for an Animal Trainer Behind the Scenes,” Mouse from a Hole,” “Honest Spring” etc. all made people laugh.

“Barcode” was the first infantry squad sent forth by the word kingdom of Shih Hsuan-yu, short and long black lines forming a rectangular symbol, representing a set of numbers. In that era, the barcode was quite new and department stores had only just replaced price stickers. The fascination with barcodes was reflected in the popularity of tattoo stickers. Barcode capitalism is a management method that came into being after mass production and as such is a symbol for standardization and lack of character, the secret identity of products in a cold city. However, for Shih Hsuan-yu, the “barcode” is no longer a symbol in a scientific era, it is a secret language exclusive to ancient, solid clay, a record of its mood.

Each set of barcodes is a symbol, hiding a strange youthful fascination. Each set of figures is also translated into its own meaning. To break the code, first convert the barcode into numbers then match the numbers to English. Once it is in English you have one word or a sentence. Each indented barcode brings to mind many different things, perhaps like the language of Braille used by blind people, being understood through touch. The fingertip that touches the barcode can be compared to the scanner held by a shop assistant, the code suddenly revealed under the light of the scanner. They are like the word tiles of ancient Mayan civilization, recording a past we are unable to recognize or understand. Translation and interpretation are required before it can become a contemporary language understood by all.

The elements shown in this exhibition were the basis of Shih Hsuan-yu’s later work. Content revolves around “words” with three main constituent elements being cross media; “glass,” “wood,” “metal” and ready made objects; The focus is on the idea of “Difficult change.”

“The Axis of the Metagalaxy”

Four years later (1998), in “The Axis of the Metagalaxy” solo exhibition the barcodes had disappeared, replaced by the secret numerical message“Big numbers are beautiful.” Regardless of the outer appearance all had a different number of numerical sentences carved into them. Similarly, the code can be broke if the numbers are matched to English, and a secret message revealed.

In this series of works, the “positive and negative dualism” viewpoint provides an important commentary, utilizing the contrast of false/real, separation of left/right and paired objects, to describe the artist’s views of the universe and life. The two pieces in “The Axis of the Metagalaxy” are symmetrical but have different ceramic surfaces. Using the yin/yang concept of oriental philosophy, this symbolizes the relative world in which objects have two sides. Shih stresses the dovetailing of false and real in the “The Axis of the Metagalaxy”. The “nothingness” aspect of this work comes from the artist’s lack of expectation: “I just threw the clay, allowing its surface to crack naturally and then left it as it was.” The “real” face comes from the complex thinking and design of this young philosopher and the dense numbers etched on the surface. After the secret number messages are converted into English, they become intriguing biblical prophecies and revealingly honest poems about life.

Based on “positive and negative dualism” Shih Hsuan-yu develops a “standard” and “axis” standing in middle or serving as a boundary and representing human consciousness: “Things themselves do not change, just the way in which people perceive them.” Indeed, the perspective from which things are viewed is the “standard” or “axis” in this work. This concept is extended to the subject of “time,” with the work featuring a large number of hour, minute and second hands, as well as longboat shapes. These refer not just to the flow of time, but also more importantly to the interaction of yin/yang in the universe. The piece “Meridian” discusses the human definition of time, using virtual non-existent time divisions to directly challenge the authority of time. The work “Floating Time Perspective,” takes as its conceptual prototype the idea that “everything is in flux” as expressed by the ancient philosopher Heraclitus. The artist places the image of flowing time on the sea, with seven clocks placed on a ship shaped platform. The waves are disguised as part of the clocks and just as the title of the piece suggests, time floats on a boundless ocean as part of an unfathomable cosmos. As such, man’s time standards are nothing more than self-deception.

“Wings in the Wind” - A City Wall of Piled High Words

The 1999 solo exhibition “Wings in the Wind” was similar to the work “Wings in the Wind.” In terms of form, Shih moved on from the horizontally laid boat shape, up and inwards, building a strong subject with multiple layers. This subject is also made up of faux natural crack patterns and real message secret numbers, with an “axis” at the center.

“Micro building” and “mechanical beauty” can be used to describe the special features of the works of this period. Shih attempted to leave behind flat surfaces and walls, using an assembled structure to allow the work to rise from the ground. It would be more accurate to say that works in this period were “mini buildings” rather than “small sculptures.” This creativity originated in “Taking the Wings of Mechanical Beauty.” In discussing the “Wings in the Wind Ceramic Exhibition”  it is said: “Shih Hsuan-yu’s mechanical aesthetics comes from his life in the ROC Marine Corps, the large military machine warehouses, round tube shaped pill-boxes, beautiful arc shaped boats, billowing sails, anchor symbols, standard images, all made him fascinated with the mechanical world. From sea to land Shih’s mechanical aesthetics also comes from modern architecture, especially the language of organic form, uncertainty, kinetic energy, cracks, anxiety, dual decoding and multi-element dialectic of post-modern architecture. If we look at Notre Dame du Haut chapel, by 20th century master Le Corbusier, Eero Saarinen’s TWA building or Frank Gehry’s Guggenheim Museum in Spain, it is clear that the image of boats or wings has brought inspiration to Shih’s mechanical aesthetic.

At this time, concrete human shapes called “Angels” or “Warriors of Light” appeared. They had no features or expression, but did have wings; not soft feather wings, but heavily mechanical wings with join points axis, an arc shaped main body and steering wheel-like arrangements, a line of feathered wings for flying high. These were usually positioned so they could look down from above, occupying the center or a high point. At this point “Flying” replaced “floating in the sea” as a new method for breaking free of basic principles. Shih says: “ I don’t long for freedom, but I do long to see the world being rebuilt from on high.” He then created angels, looking at the world from a different height, dispassionately observing from on high.

Whether a floating boat or the wings of an angel, Shih’s works have always conveyed a desire for movement. However, the characteristics of “clay” as a medium is “stability,” “reliability,” “grounded” and “warm,” traits that contradict the “calmness,” “movement” and “flying” Shih seeks to express. However, from another perspective, this contradiction reflects the reality of humanity, just as people are constantly trying to capture fixed rules and principles in the universe, as a way of reassuring themselves. But the human heart will not stop changing, so people’s lives are a constant struggle between “moving and not moving”. Shi’s works cleverly use the special features of the medium to convey signs of this contradictory struggle.

Collar Structure Micro Stage

Art critic Huang Hai-ming  once described the special features of Shih’s as “A ‘multi-level collar structure.’ Ceramics vessels often convey the idea of being a maternal container, but his works are more concretely developed in a narrative and micro stage” direction. It is undeniable that Shih’s works are increasingly complex and that the pieces presented on this micro narrative stage are increasingly splendid and numerous, the artist patiently explaining to the audience the sort of art he believes in.

The term “micro stage” suits Shih’s works, mainly because they have much detail, need to be appreciated slowly and are highly narrative, with each symbol having its own corresponding meaning. For example, “barcode,” “numbers,” “words,” “random symbols” are important elements that coordinate or describe the work. The “translation of words into numbers” is an uncertainty principle-like misunderstanding that cannot be removed from the process of discussing word dissemination. The “boat” or “wing” form gives a sense of movement, leaving or struggle. “Clocks” represents the passage of time and our different definitions of time. “Angels” are transformed humans and even a symbol of the artist’s state of mind. The “maze” is where people get lost. “White rice grains” represents the toil people endure for rice; “Small sandbags” or as Shih says “hot air balloons” are things people are willing to abandon when given a choice.

The viewpoint of the micro stage changes with time, first it was single and flat with all information viewable at a glance. Then it became cubict or boat shaped and the viewer has to walk around it, looking for details left and right. The axis at this time is still single, the “standard” and “axis” focused on by Shih remain located at the lateral transection of the object. Still later the “axis” becomes a “sliding weight,” “glass test tube,” “brave bear” or “angel” etc. Some are even able to spin on the axis they represent. In Shih Hsuan-yu’s thought system, the axis evolves from still to moving or from a single to a changing axis. After 2002, there was a displacement between the direction of Shih’s work and the axis. From the same flat surface, the axis moved horizontally while the whole work moved upwards. The isomerism of the axis infused the work with more aspects, making it more complex, causing what was originally only a line separating reality and nothing to transform into a wider gray intermediate space between the two. In this way what was dualistic contrast became diverse coexistence.

New Developments with Video Installations: “Close the World, Open the Next”

In addition to explaining Shih’s ceramic works, traces of the micro stage can also be found in his first video installation work, “Close the World, Open the Next”  held at the “Misssssss-Speed-Video Installation Exhibition” in 2000. This work was done in partnership with Shen Ta-chang and the exhibition venue was the Huashan Art District. Although the work moved beyond the scope of clay, the artists his use of smoke as an image screen, extended Shih’s use of “fire”, a familiar element for Shih. Indeed “Shih and Shen’s ‘Close the World, Open the Next’ saw Huashan as a place where nothing and reality met in a certain time and space. They used waterfall-like, seeable but untouchable dry ice as a screen and projected onto it hazy figures of people talking to themselves, floating like wandering spirits.

The image content of “Crossing the Border” contains a scanned photo of a “fetus shape” in the mother’s body as a base map, with details from birth, growth or death edited onto it. This moment inside the mother is the meeting point between two worlds, and also the intermediate point Shih always focuses on: “The previous life is not yet ended, the next life yet to begin. The same body reaches across two counterposed times, building a completely different chaotic speed. The former is about to arrive, the latter is far away”.  As such, the image is just fragments of memory that flash constantly in front of us, one scene after the other and in a moment the film reel of life plays in full. On this smoke image we can still identify the distinct personality of Shih Hsuan-yu, a “ multi-layered collar structure, discussion between a “positive and negative dual world” and the “standard” of intermediate space. However, this time the clay has been removed and the displayed made in the form of a video installation.

Word Archeology: “Language Digestion Engineering”

After “barcode” and “secret message number”, the question became what surprises would the word kingdom of Shih Hsuan-yu come up with next? In 1998, Shih attended the Santa Anna College of Art Ceramics Camp and in 2001 was selected by the Council for Cultural Affairs as an overseas resident artist at the Anderson Ranch Arts Center. Both these experiences of “living locally” provided Shih with new energy and provided him with a more introspective approach. Because of difficulties in communication, and the dislocation of time and space, he found himself especially sensitive and gained a new understanding of language and words, producing the “Language Digestions Engineering” work.

Discussing “Language Digestion Engineering” Shih says: “Just like the blind can identify position from sound, or the deaf can read lips, when the language of different countries is transformed into elements, all that we are left with are broken frequencies and standardized totems. In these languages, details and rhythm all become very clear, with stop symbols between each unit, frequency, volume, the movement of facial muscles and the rest of the body, all needing to be precise and correct. This digestion process made me start to contemplate that the reading of large volumes of word and images in the past was, at a certain level, perhaps a way of disposing of memory and sensory perception. In an art village, there are individuals from all over the world, speaking a variety of languages and we developed a different way of communicating. After overcoming the language barrier between us, we created a form of coexistence, a global village way of thinking that involved returning to nature”.

“Language Digestion Engineering” caused Shih to reflect on his own language. When he discovered that Taiwan is the only places in the world to use complex Chinese characters, he began to look through old books for words that were lost, forgotten or unrecognizable, to incorporate them as part of his word kingdom. Shih says: “From the Tie Gui Cang Gui to Er Ya Yin Tu, from Emperor Kanghsi to BIG5, the evolution of words remains a mystery. The only thing that has not changed is that they continue to move forward.” At this point what Shih wants to do is search for these lost words and add them to his work, infusing his word kingdom with new ideas.

Lost Word Search Project: Mourning the Loss of Complex Chinese

The widespread use of computers means there is less and less and written text, indeed many teachers of Chinese bemoan the decline in student literacy and writing. The main reason is the ability to type Chinese on PCs and various input methods, which mean that users are increasingly unfamiliar with the feel of Pinyin or the structure of characters. At the same time, PC AV images and the large databanks of the Internet have replaced earlier knowledge and learning channels that were based on reading and practicing the writing of characters. In the technology age, we are progressing but also losing much. At this point, Shih’s works focus on words, especially the loss of complex Chinese characters.

Shih asks the question: “When the digital age has destroyed the barrier between space and time, removed the boundaries between countries, cultures and areas, have we lost ourselves in the torrent”. He surmises: “In the new age country, children no longer write characters but use keyboards, the mouse and voice, they no longer read language but cut out what is required from pictures, images and messages.” In an era where God is digital and chips are worshipped, words seem likely to retreat from the functional to an aesthetic and nostalgic level, just like the ancient words that we half only understand, that we can translate or can’t recognize in old books. Words are dead, sealed underground like Troy, the ancient city of Pompeii buried beneath the lava or even Mayan civilization that evaporated from the top of the frozen Andes or Atlantis which sank beneath the waves never to be seen again.

Rebuilding Hope: The Rebirth and Death of Words

After much searching, investigation and interviewing, Shih mixed words together in “Language Digestion Engineering: Rebuilding Hope” in 2002. This extends the normal singular view of clay to more multiple level work including installation art, action, video documentaries and audience interaction.

Talking of his work, Shih says: “Through the cracking and re-building of an ‘earth wall’ I sought to topple the imprisonment of cultural barriers, restoration what came before and rebirth. Through the loss of ‘words’ I seek to record the drifting of language and human, non-human primitive hopes.”  This installation work covers a very wide area, the artist creating word dominos, a barrier or what can be called a prison from clay and words. He uses over 400 clay bricks to build 21 walls, each 2m high, 1m wide and 20cm thick, every one in the shape of a large domino. The alien words of new age language are etched on each wall as poetry, after mixing, reproduction hybridization, misunderstanding and change, and the future hopes of local people. On opening day, there was an event to topple the word barrier, when the walls were pushed over like dominoes and the hopeful words of various countries, ethnic groups and people of different ages were united in a single big hope.

Although the word wall that was toppled was a mixture, all that remains is a pile of yellow earth. The only proof of reality that we can touch or feel is the image of the debris. Words quietly display their death.  “The death of words” is the real face of this work.

A Tendency Towards Gorgeous Complex Mergers

Returning to clay in 2003, with “Close the World/Open the Next” as his theme, Shih held a solo exhibition at Yingko Ceramics Museum. This exhibition extended the earlier idea of “difficult change.” Shih used as his material the “Lulizhi” section of the “Zhi” chapter of Qian Han Shu, finding evidence for the “standard” he discussed earlier in ancient books. In Lulizhi units of measurement were set - huan, fang, quan, zhong, heng, ping, zhun, sheng etc and the music scale gong, shang, jue, wei, yu etc. “From adjusting the standard, balance the adjustment then gain the balance and use it to adjust”. Only through the existence of a “standard” is there a difference between empty and real, yin/yang in the world. It is this that ensures Shih’s works continue symmetrically.

In addition to the long boat and wing shapes in this exhibition, musical instruments were added, notably the mysterious Indian sitar. It is said sitars have no score and no set sound, that each one is unique and the music played derives from finding the special features of the instrument. The sitar has single and double voice boxes, its strings are on the upper part and have no fixed number, length or thickness, all of which are determined by the musician. This feature coincides with Shih’s constant search for the principles at the center of change. Each person is like a sitar player, composing the notes for their own life.

In terms of form this series of works focused on the sitar take the upper string handle as their “standard,” though at the same time this also has the feeling of the steelyard. The lower voice box is where the word records are located. Here Shih has pieced together various lost historical works - Compendium of Material Medica, “Tian Gong Kai Wu,” “Shuo Wen Jie Zi,” “Book of Han,” “Er Ya” etc. There are also examples of modern computer virus code, though the font is more precisely arranged with either a single screw wave or double screw Indian wheel arrangement. Each joining point has a chrysanthemum shaped nail as an installation. At this stage the artist exhibits great patience and care mixing all the elements together, displaying a post-modern, unconnected collage and a tendency towards attractive complex combinations.

After Extreme Complexity

From simple short poems to flowery rhythmical verse, Shih Hsuan-yu’s works despite undergoing various changes have always focused on the same subject. I asked the artist: “What after ‘extreme complexity’ ” He replied “Perhaps another completely different extreme”.

We await the next decade with great expectation.

]]> http://www.unit-9.com/blog/article.asp?id=33 <![CDATA[[一堆陶土，一封遺書，一片美好生命]-天下雜誌]]> unit.office@gmail.com(Samuel) Tue,01 Jun 2004 17:40:22 +0800 http://www.unit-9.com/blog/default.asp?id=33 一堆陶土，一封遺書，一片美好生命

三十歲，國內陶藝大獎常客，藝術界的早起之秀。從小，老師罵他的
作文胡說八道；現在，出入現代和傳統，文字藝術成為他人生的重心

文／周慧菁天下雜誌　第300期　2004/06/01 出刊

   「這是圖特（Thoth），古埃及的智慧之神，也是知識之神，負責書記所有文字部份，也是時間的管理者。埃及的象形文字是由它策劃出來。當初選擇圖特，是因為它在記錄一個時代起飛的狀況。」在擠滿作品、不到十坪的住處兼工作室裡，長髮及肩的施宣宇自信中帶點靦腆，解釋著他最新個展的陶藝作品，鳥面人形的陶土雕塑上，佈滿密密的各種文字圖形，有漢書上的文字、有各種電腦病毒的名字、還有現代年輕人流行的刺青圖案。他的作品清楚地融合「中外古今」。

　  從二十歲就開始舉行個展，得過國內多次陶藝大獎，並經常到國外參展，三十歲的施宣宇在藝術界算是早起之秀。但做為新時代的藝術創作者，他所面對的挑戰也是前所未有。所謂的無疆界競爭，直接衝撞像他這樣的台灣新生代的藝術家。

　  「我們這個年代是直接進入國際圈，我的藝術界突然變得很大，」父母也是藝術工作者的施宣宇，比較自己與上一代藝術家最大的不同。也是走出國門之後才發現，在西方人眼中，自己不是代表台灣，而是東方的代表。

象形文字與ICQ
都是國際語言

　  有一年在法國的經驗，讓施宣宇深感挫折。有位法國藝術家很興奮地問他，會不會易經？不太懂。那老莊，有讀過但不透。那你不是東方人嗎？回台灣後施宣宇開始重新認真讀古書。因為若想在世界的藝術舞台上展現出自己的獨特性，傳統文化提供了重要的養分。

　  出入現代與傳統，文字是施宣宇目前最關心也最認真思索的議題。　「我們這個時代比較不一樣的是，有新的象形文字出來了，例如ICQ上的各種符號，不管是開心的，生氣的，這個象形文是國際性的。而舊世紀的文字，所謂的繁體中文正在沒落，台灣是最後一個繁體文國家。」他試著以作品體現舊文字結束和新文字開始的這個時代，並用陶土來記錄。「我相信人類的文字是從泥土開始，所以希望用土來做記述，古代的埃及、馬雅、兩河流域文化，他們都是把歷史記載在陶土上。電腦檔會毀滅，紙張的也會毀滅，但陶土的就算被毀，也可由這些碎片上的文字，來反映這個文化存在的必要性。」

　  雖然經常以陶土創作，但施宣宇從不自我定位為陶藝家。「現在藝術家的領域界限愈來愈模糊，只是看哪種媒材適合表現我的想法。」因此上次的展覽，施宣宇跑到婦產科拍了許多胎兒在母體裡成型的超音波掃描錄影帶，來表現他的輪迴觀。一個即將新生的胚胎靈魂與另個正在等待死亡的靈魂，以不同的速度在母體裡相逢。

　  走上專業藝術創作之路，對施宣宇來說，是必然也是偶然。大學聯考前得猛爆性Ｃ型肝炎，醫生說沒藥醫，存活度大概四○％，只能幫你打葡萄糖。十九歲的施宣宇躺在病床上打點滴，開始覺得人生要結束了，要下定決心，如何可以有一個很過癮的人生？自己到底要做什麼？

　  「我一直覺得自已是一個遜角，什麼都很遜，體育不好，成績也是最後面幾名。覺得人生沒有存在的必要性，開始找為什麼活下去的理由。後來找到藝術，覺得在這裡我很快樂。應該說找到我的藥，治我憂鬱的藥。有點像開始酗這個成就感，找到活下去的理由。」慘澹的小學、國中生活，直到進入泰北高中讀美工科，開始參加各種美術與設計比賽並頻頻獲獎，才找回自信，也為人生找到出路。

我是個遜角
但是個有氣魄的藝術家

　「以前當你什麼都不好的時候，沒人會去管你，連你沒有來上課也沒人發現，」三十歲的施宣宇說到年少時所受到的漠視，說笑的語調裡仍忍不住激動，「以前作文，老師會給我寫：胡說八道。現在我用另一種方式呈現我的想法和我的說法。」

　在台灣要當專業的藝術創作者，不論成名與否都得安貧樂道。「記得剛踏入這行，爸爸跟我說，做藝術家ㄧ定要有一種東西，要有氣魄。就是要挨得起餓，你只要挨得起餓，就有機會，」纖細的施宣宇用台語說出氣魄，聽起來特別有氣魄。他會計算一碗白飯多少錢，瓦斯費多少都會算得很清楚、很小心，有時電鈴不敢聽，電話不敢接，怕是討債的、收報費的。

　「撐不過時就洗洗碗打打雜，」七年級的施宣宇說得雲淡風清，因為他曾經擺路邊攤賣牛仔褲，便利商店、快遞、廚房、清潔、工地，也都做過。而這些社會經驗也讓他受益很多，「任何學焊接的，精準度都不會比巷口修冷氣的阿伯高，因為他們以此維生，不能出錯。」

成功？
字典裡有我就行了

　對作品講究精確，對生命也要求精確掌握。當兵後，施宣宇每年生日時都會寫封遺書，把生命重新校正一下。裡面交代要感謝誰，對誰不起，東西要給誰，怎麼辦遺作展，甚至DM要如何設計、配色，「生命要做好準備，唯有把計劃排好，優先順序排出來，你才能在最快的時間內做完所有事情，」施宣宇像經理人般的在管理自己的生命。

問施宣宇，對他而言成功是什麼？「我希望有一天自己的名字在字典裡可以查得到，像畢卡索一樣，那我就成功了。」不知什麼時候施宣宇的名字會出現在字典上，但他的確像畢卡索一樣，不斷尋求自我突破。

　前陣子他胃穿孔開刀，每天都吃那種很稀很稀看不到米粒的清流飲食。「我真希望可以把它做成作品，很純粹、很單純。現在我的作品很繁複，下次展覽我希望能做清流，很平淡很平淡的完美。」在邁向　很平淡的完美途中，施宣宇也正攀向自己的高峰。

]]> http://www.unit-9.com/blog/article.asp?id=39 <![CDATA[陶藝界的台灣氣魄─築夢踏實的施宣宇]]> unit.office@gmail.com(Samuel) Sat,16 Dec 2000 18:09:57 +0800 http://www.unit-9.com/blog/default.asp?id=39 台灣光華雜誌 (中英版11期/中日版12期) 文／郭麗娟

國內陶藝大獎常客施宣宇，堪稱台灣陶藝界的「早起之秀」，十八歲即獲邱和成文教基金會第一屆陶藝金陶獎「銀牌獎」，今年上半年已受邀參與多項國內外展出，包括台北縣鶯歌陶瓷博物館「台式古典‧新饗宴」、「空間像遊戲」；西班牙亞拉岡國際當代陶藝博覽會「疆域的凝視」；中國北京國家美術館「藝器‧造藝──台灣當代陶藝」，同時成為中國北京嘉德拍賣公司「當代陶瓷藝術」台灣首拍藝術家。

然而這位年方三十四歲的陶藝家，走上專業藝術創作之路，是走過死亡幽谷後大斷大立的人生轉折。

施宣宇，一九七四年出生於台北萬華，父親施並致與母親郭雅眉都是畫家，十一歲全家移居台北天母，當時台灣的陶藝界正蓬勃發展，母親也進入李亮一成立的天母陶藝工作室學陶，十四歲那年他破例進入陶藝工作室當助理，開始與陶土結下一世情緣。

與書本無緣的他，求學時度過慘澹的小學、國中生涯，直到進入泰北高中夜間部美工科，白天專心創作並參加各種比賽且頻頻獲獎，逐漸展露藝術天份外也慢慢有了自信，求學期間獲第六屆南瀛美展「佳作獎」、邱和成文教基金會第一屆陶藝金陶獎「銀牌獎」、第四十七屆全省美展「入選獎」，作品也在台北敦煌藝術中心寄賣，堪稱「英雄出少年」的他，當時卻只想著趕快存錢買部屬於自己的摩托車。

由於一心想擠進大學窄門而「用功過度」，大學聯考前得猛爆性Ｃ型肝炎，醫生宣告存活率只有四成，十八歲的他躺在病床上打點滴，開始思索自己的人生？藝術創作領域的快樂與自信，讓他找到活下去的理由。一九九四年在台北敦煌藝術中心推出個展「調和波長」，那年他才二十歲。

●專業創作選擇游牧式學習

退伍後，決心專業創作，然而在台灣選擇當專業藝術創作者，不論成名與否都得安貧樂道，知曉他的決定後畫家父親只跟他說：「做藝術家一定要有氣魄，就是要挨得起餓，只要挨得起餓，就有機會。」

一九九六年，他提著皮箱搭上台鐵平快車，從台北到桃園龍潭，一無所有地面對完全歸零的自己，心裡只有一個念頭：「我很想當藝術家。」同年成立「九座寮工作室」，生活實在撐不過時就打工賺生活費，便利商店服務員、快遞送件員、清潔工他都做過，這些社會經驗也讓他學會謙卑與尊重，「任何學焊接的，精準度都不會比巷口修冷氣的阿伯高，因為他們以此維生，不能出錯。」

未能接受學院教育，創作之餘積極參與各種職訓或創作課程充實自己，一九九八年在李亮一建議下，前往美國聖塔安納藝術學院陶藝工作室參加陶藝研習課程，「創作者的壽命是短暫與殘酷的，學院畢業後到創作黃金期結束，往往不到三十年，扣掉前十年的風格建立與探索，後十年的體力逐漸喪失，創作高峰期不過短短的十年，所以選擇游牧式學習，希望藉由創作有更多機會到世界各國遊歷。」

專業創作後他交出傲人的成績單；一九九八年陶瓷金鶯獎「銀牌獎」；一九九九年連續兩年日本國際工藝展「入選獎」；二○○○年澳洲黃金海岸國際陶藝展「大英聯合王國特別獎」、第八屆國際陶藝雙年展「第二名」；二○○二年第十六屆南瀛美展「首獎」、二○○三年第三屆台北陶藝獎「首獎」。

陶藝作品由於體積與搬運時易損壞等種種因素，所以出國展覽的機會相對減少，想讓國際社會看到台灣人的創作，擔任駐村藝術家是不錯的管道。二○○一年在行政院文化建設委員會贊助創作下，擔任美國安德森藝術中心駐村藝術家，二○○四年同時獲台北市政府文化局與英國三角藝術信託中心贊助創作，因緣際會地擔任巴基斯坦VASL藝術中心二○○六年駐村藝術家，二○○七年任日本崎阜縣MINONOKUNI藝術中心駐村藝術家。

●隱匿國名進入巴基斯坦

到巴基斯坦擔任駐村藝術家，讓人覺得相當不可思議，因為從國際媒體所得到的訊息，這個國家除了戰爭還是戰爭，居然有「藝術村」？

這樣的疑惑同樣困擾著施宣宇，雖然擁有英國博物館寫的保證書、台北市政府寫的推薦函、法院的證明文件，還有英國跟台灣的全額經費贊助，但是當他前往「台灣」或「中華民國」或「中華民國在台灣」的外交部，希望多瞭解當地資訊？是否有台灣商會或人民團體可給予協助？

外交部經辦人員給他的回答竟然是：「施先生，很抱歉，關於巴基斯坦我們國家跟他們國家關係不是很好，所以我們國家沒有一個機關團體或商會甚至是一個台灣人在巴基斯坦，要去巴基斯坦唯一的方法是藉由香港或曼谷領事館，而我們國家跟這兩個國家也不是很好，我們國家只有跟印度友好一點點，可是偏偏印度跟巴基斯坦非常的不好。」

最後透過旅行代辦業者的週旋，「如果我可以『假裝』是中國人，就可以騙過巴基斯坦海關人員，如果在某些文件跟談吐上『角度正確』，就能偷渡成功，這一切似乎都必須像計算太空梭突破大氣層進入軌道一樣精準。然而，我是否能跟阿姆斯壯一樣登陸巴基斯坦的Karachi國際機場？又，兩個月後是否能平安返回台灣呢？」

懷著忐忑的心情踏上旅程，雖曾讀過《小王子》，但從沒想像過自己有一天也會「降落」在沙漠中，抵達巴基斯坦Karachi機場，出關時，拿出「中華民國護照」還要刻意用手指將國名中的「華民」兩字遮住，讓國名看起來像「中國」，至於護照外皮顏色如何由「綠」轉「紅」，原來「金錢可以使人暫時色盲」。

●沙漠中開出藝術花朵

巴基斯坦是個貧富相當懸殊的國家，有錢貴族生活極盡奢華，為了讓子女親近參與國際藝術，特地成立「VASL」以藝術家為主導的機構，將國際藝術家聚集並在密集的時間內進行想法交流和藝術實踐。二○○六年共有十四個國家二十四位藝術工作者受邀，必須在十八天內，在一片荒蕪中，創作出能供數千人參觀的大型替代展覽。

工作室距離首都Karachi 六十五公里，位於Sindh和Balochistan邊界的Gaddani，該地以修船廠和多岩石懸崖海岸線聞名。為了維護藝術家的安全，工作室外派有十四名荷槍實彈的武裝軍警隨時保護與監視，「時日一久，大家也都習慣被數管槍口隨時瞄準的生活。」

在巴國，語言不是問題，溝通全靠默契，唯一的困難是物資缺乏，材料往往遙不可及，飲水、食物、電力、燃料、材料全靠運送車補給，四周都是沙漠，走路到下一個城鎮要兩個星期。

在Gaddani有段很長的時間無水可用，這個沙漠城市並不是不會下雨，一年之中只有十月其中的兩個星期有機會下雨，由於無水可用，往往得坐兩個小時的公車到另一個距離最近的村莊，在馬路邊的井水旁當街洗澡，然後就會發生電影「功夫」一樣的劇情；洗到一半還會斷水，滿頭肥皂泡泡的狀況下，每次他都想大喊：「收~租~婆~怎會沒有水了哩！」

創作上也遭遇前所未有的難題，「這個國家居然沒有泥土也沒有樹木，陶藝創作的兩大素材都沒有，只有沙和垃圾！」施宣宇苦笑回想當時的震驚與無助，最後他將白膠和沙子混合後做成底板，然後從取之不竭的垃圾中選擇現有物，包括動物屍骸、碎瓦片、枯樹枝等，組成一封又一封的信箋，「生活的不便、戰爭的恐懼、警衛的槍桿，在巴基斯坦每天都感到『害怕無助』，希望藉由信箋對外『求救！』，同時抒發內心的不安情緒。」

創作完成後，主辦單位只開放一天供民眾參觀，藝術家們都質疑，這個離最近的村莊都要搭兩個小時的公車才能抵達的展場，會有人來參觀嗎？展覽當天清晨，藝術家們看到紛湧而至多達數千位民眾，或搭公車或半夜徒步前來，只為參與這難得一見的藝術盛會，都為之動容。

「看來文化沙漠不在這裡，傳說沙漠會在雨後的清晨盛開花朵，我真的相信！」施宣宇不禁語帶感慨表示：「反觀國內，那麼多的美術館和博物館國人卻都未能善加利用，真是可惜。」

●日本雪地創作大考驗

原以為去過巴基斯坦後，再也沒有什麼創作環境可以難得倒他，但是去年在日本岐阜縣多治見市政府經費贊助下，擔任日本崎阜縣MINONOKUNI藝術中心駐村藝術家時，再度面臨創作上的大挑戰──雪地創作。

去年一月抵達日本岐阜縣正值寒冬，由於工作室屬臨時搭建，沒有暖房設備，每天都必須穿著厚重衣物抱著暖爐工作的他，面臨雪地創作的各種考驗，首先，因冰凍失去觸覺，那就像音樂家失去聽覺，料理人失去味覺一樣，雙手皮膚更因低溫而皸裂，經常「血跡斑斑」。

雪地氣候更是詭譎難測，常常一覺醒來，前一天明明已經完成的作品突然自體毀滅。後來才發現，雪地中，作品會在每天凌晨結冰，太陽出來後退冰，「結冰時陶土中所含的水分因結冰而膨脹，組織因此被破壞而碎裂，退冰時，先從外表解凍，陶土變成泥漿狀，冷漲熱縮中作品就會自體爆裂。」

發現原因後，他想出「保溫」和「快速完成」的策略，儘量在一天之中完成，然後用吹風機將作品吹乾後儘快窯燒，如果無法快速完成，晚上要幫作品「蓋棉被」保溫。

同年在日本岐阜當代陶瓷美術館推出「飄蕩的記憶詩歌十四首」創作個展，作品「飄蕩的記憶詩歌Ⅳ」獲日本岐阜縣多治見市政府典藏，日本岐阜當代陶瓷美術館典藏「飄蕩的記憶詩歌Ⅶ」。

●文字藝術融合現代與傳統

這位在國際能見度極高的陶藝家，儼然成為台灣新時代藝術創作者的代表，然而所謂的「新時代」，同時意味著前所未有的挑戰，他們與上一代藝術家最大的不同是，直接進入世界舞台與國際接軌，進入所謂的「無疆界競爭」，作品不僅僅代表國家或個人，而是另一個世界疆域的象徵與精神，「走出國門後才發現，在西方人眼中，自己不是代表台灣，而是東方的代表。」施宣宇體認到，若想在世界藝術舞台上展現自己的獨特性，傳統文化是相當重要的養分，「文字藝術」成了他最關心也最認真思索的議題。

「我相信人類的文字是從泥土開始，所以希望用土來做記述，古代的埃及、馬雅、兩河流域文化，都是把歷史記載在陶土上。電腦檔會毀滅，紙張也會毀滅，但陶土就算被毀，也可由碎片上的文字來解讀文化存在的軌跡。」施宣宇說。

融合現代與傳統的作品「御風翰語──圖特」，圖特（Thoth）是古埃及的智慧之神，也是知識之神，鳥面人形的陶土雕塑上，佈滿密密的各種文字圖形，有漢書上的文字、各種電腦病毒的名字、還有現代年輕人流行的刺青圖案，是歷史也是紀錄，「語言消化工程的混亂雜記，源自創世紀以來，漂蕩的史料軌跡，浪漫的符號起源於泥土，由樹枝畫起文字記錄的詩篇，亦過境了好幾世紀，但，語言文字上的轉換與變異，仍將持續。」

當藝術界都驚訝與佩服他一再求新求變，勇於突破自我的同時，他也坦言「超越自己」很難，只能自我期許能每天進步一點點，由於陶藝創作「陰暗潮濕」的環境特性，他覺得自己就像「鼴鼠」；一種天天耙土、不喜歡陽光的哺乳動物，他在部落格裡寫道：
看著鏡中的自己，發現，越來越像鼴鼠，每天，每天在黑暗中獨自，獨自挖掘，然後，眼睛越來越小，手越來越大，偶爾，接近地面，似乎，能聽到外面的聲音，有花有陽光有空氣，還有大家開心的聲音，我摀著耳朵，只能拼命往另一個方向去，夢想，就在地球的另一邊，我這輩子能夠挖多深？能穿越所有地層嗎？

今年剛娶得日籍美嬌娘的他，人生、事業兩得意，這也讓人對他未來的創作方向與風格有更多的期待，這個勇於築夢的陶藝家，希望五十五歲時能在法國羅浮宮中央玻璃金字塔廣場舉辦個展，對他而言，這不是理想或夢想，而是會被逐步實現的「計畫」，實現既定計畫，不僅是藝術創作者的氣魄，也是台灣人的氣魄。

出版: 台灣光華雜誌 (中英版11期/中日版12期) 文: 郭麗娟

[img][img]

[/img][/img]]]> http://www.unit-9.com/blog/article.asp?id=32 <![CDATA[錯速背後的交錯因素-藝術家雜誌第306期]]> unit.office@gmail.com(Samuel) Thu,16 Nov 2000 17:35:09 +0800 http://www.unit-9.com/blog/default.asp?id=32 「錯速」背後的「交錯因素」

黃海鳴

11月3日到11月19日，在「華山藝文特區」烏梅酒場所展出的「錯速」主題策劃展，把處在奇幻、炫麗的影像資訊超量消費處境中，以致於內外在實體世界分裂、消失的世代的藝術家的作品，與繁榮都會景觀中突兀的舊產業慢速、體力生產時代的建築殘留並置在一起。也許這是一種很錯愕的組合，也許這正好是兩種類似的世界的組合，因為它們，都同樣的虛幻，都處在消失的過程之中。

「華山藝文特區」是一個上一個世紀的廢墟、日據時代的廢墟，國民黨統治時代的專賣局機制的遺跡、是一個講求經濟報酬率的快速變動都會中被淘汰的舊產業空間遺跡。在一個空洞的廢墟般的劇場空間之中，一些沒有多少物質性的投影設備，瞬間讓廢墟重新活過來，人來人往，人影與光影，真人聲與影像聲交織，突然非常的熱絡，又瞬間消失，只剩下困在影像世界中，飽受滄桑的老嬰孩的呢喃。

4.「過境」施宣宇、沈大昌：
沈大昌是電腦影像的技術助理，而施宣宇才是創作理念的主要原創者。他主要是一位陶藝家，據說這是他第一次玩影像，但這兩種作品之間的關係是清楚的。在他的陶藝作品中，可以看到多層次的的「套包結構」，以及被包在內部的主體，可以進出此一空間的一種還滿複雜的時、空架構。有時像是在物體內潛行的「時空之梭」，有時看起來像一種城堡，裡面還有一個奇怪的、未完全成形的天使，那是一種原始樂園的意像？或是一種產道以及子宮的隱喻？陶器經常傳達的的是一種母性的容器觀念，而在他的陶藝作品，更加具體的往一種述事性，以及微型的舞台方向發展。

在這次的影像作品中，主要的意象是以超音波所設置下來的還繼續在蠕動的「子宮」的影像最主要的，並以三種不同的方式投影，一種出現在小電視螢幕中，放在地上，一種由投影機投射到斑剝的大牆上，最主要投射在由乾冰所造成的巨大霧牆上。這道「霧牆」，本身有厚度，並且還是流動的，當影像投射在上面時，產生某種神秘、超自然，以及儀式的感覺。這件作品好像是要把身體內部的子宮活體的影像，經過其在霧空間中的投射，而變成一種類似於神靈顯像的靈異過程。母體深處的子宮，是一個既有位置，但又無確定位置的「原始空間」，它似乎就只有那麼小，但它又似乎非常大，大到可以裝進一個世界，或是不同世界之間的神秘轉換的通道。假如，我們暫時接受人死後重新投胎的觀念，嬰孩在未投胎轉世之前，住在那個世界？從那個世界，到子宮之中的十個月的睡眠，又是另一個世界，呱呱落地之後，又進入到另一個世界？成年人以性器官，重回到產道以及子宮的入口，那種以觸覺去感受內空間的經驗，不是用「性欲的快感」兩字所能夠窮盡的，那裡不也包含一種平安的的死以及回歸於原初的無的狀態？

　他的作品有一些強烈的舞台的效果，有很高的影像特效的表現，藉助於他早期的陶藝作品、他自己的創作聯想，我們大約可以大致地理解他的企圖，但是，也許就是因為太注重戲劇性特效，以及重疊於圖像中太多的細節，內在張力以及含意反而受到傷害，或許這樣的分析是有問題的，如果他只不過要傳達簡單的概念，以及很多戲劇的效果，雖然有動態的雲煙，以及變動的光影以及基本上比較安定的子宮的對比之外，這比較是一個沒有「錯速感」的快樂兒童的經驗，他對為變而變，以及為豐富而豐富的當代習俗，沒有甚麼不適感。

]]> http://www.unit-9.com/blog/article.asp?id=31 <![CDATA[乘機械美學之翼談「御風瀚羽」--施宣宇陶展]]> unit.office@gmail.com(Samuel) Sun,06 Jun 1999 17:27:07 +0800 http://www.unit-9.com/blog/default.asp?id=31 乘機械美學之翼談御風瀚羽--施宣宇陶展

文:呂佩怡

活在後現代文化氛圍中的年輕世代，內心需求與外在表現，總像生活中片斷影像拼貼般的疏離，失序的內外矛盾造就了這些不易了解的特殊X、Y族群。而這樣的差異卻在施宣宇的身上以另一種型態出現，他的矛盾以「震盪療法」（Shock treatment），與矛盾共處，互相包容著內外二者，他的內在依存著正反二元宇宙觀，深刻地在內心成為一種信仰與秩序的源由，但這種形而上的思想卻以工業機械美學的現代面貌，準確、冷峻但又優雅的向外挑戰，成為反映當下生活形貌的明鏡。他的矛盾也出現在材質特性的轉換對調與造型多樣的複寫，他以柔軟的陶土塑出機械般的堅固硬實，並跨界建築借取獨特語彙，彷彿經由雙手蓋出一座座現代城堡。

【機械美學】
    十九世紀末工業革命的成果帶來了人們對機械崇拜的心態，拉菲爾鐵塔的完成矗立了機械時代的新指標，帶給人們一種全新的經驗，藝術家無不從中得到創作靈感，畢卡索、布拉克的立體派，解構物體並以幾何造型再重組與拼貼，勒澤以軍旅生活為基礎發展出的機械派，畫面中的人就像機械人一般的笨重。義大利的未來派、俄國的結構主義都是受到機械世界震撼後的藝術新詮釋。但這樣的機械崇拜在兩次大戰的戰火中消聲匿跡，戰爭的殘酷毀滅了人對機械的單純想法，卻無法讓人離開機械世界的生活，越急切地擺脫，越發現自己早身陷其中成為機械的一部份。這種又愛又恨的心情在施宣宇作品中常可發現蹤跡，
「空中走廊」作品中一雙雙振翅高飛的慾望之翼，承載著科技便利後人們的陷落，現代生活的牢籠與枷鎖，鎖住了整個的身、心與靈魂，我們就像是與魔鬼交易的浮士德，沒有靈魂，只有機械的身軀，行屍走肉般的在大城市中遊蕩。

    施宣宇的機械美學來自於當兵時的海軍陸戰隊生活，龐大的軍械庫、圓筒狀碉堡、優美弧形的船身、風帆的張揚、錨的符號、準的意象都帶給他機械世界的震驚。而從海上到陸上，施宣宇的機械美學也來自現代建築，尤其是後現代建築的有機形式，不確定、動勢、斷裂、緊張、雙重譯碼、多元辯證等建築語言，二十世紀建築大師科比意（Le Corbusier）的朗香教堂、薩利能（Eero Saarinen）的紐約TWA航、蓋里（Frank Gehry）的西班牙古根漢美術館等，船的意象或飛翔的雙翅都給施宣宇的機械美學帶來靈感，他的陶藝造型可以說是縮小的建築，將建築語彙溶入作品，豐富了陶藝的視野與可能性，也將後現代藝術的跨領域交相援引發揮無疑。

【「新」的衝擊】
    去年暑假的美西學習之旅帶回了施宣宇口中的「混亂」，創作步伐像時差一般須要調整與轉換，他形容自己就像扛了太多包袱的天使，已忘了自己有飛翔的能力，於是回國後先將一件件裝滿藝術經文的包袱放下，讓自己沉澱一陣子，慢慢消化吸收。「時間」、「飛行」與「秩序重整」為這段日子創作的系列主題。

   以沙丁魚罐頭的開罐器掀起大地一角的「屏衛跳躍時間」是延續之前「時間」議題的作品，掀起的那一角之下充滿了時鐘，每個指針皆是一根激勵的刺，鞭策著人不斷的前進，時間真是無孔不入，無時不在。有人說「手錶是二十世紀的手銬，而大哥大將會是二十一世紀的腳鐐」，時時感覺生命的流逝已是一件讓人驚心膽跳之事，如果連想消失一下的慾望都無法實現的話，只能怨嘆身為現代人的可悲，B.B.CALL、大哥大、E-MAIL隨時的通緝，這樣的手銬腳鐐即使是天使也只能坐困愁城，再也無法飛翔，於是作品「天穹信使」中那個坐在頂端看世間的天使與「光之武士」手執利刃破除時間的無相天使彷彿都是世紀末人心的化身。

【鳥國狂的飛行慾望】
   「我並不渴望自由，但渴望以飛行的角度，站在頂端看世界的重整」施宣宇說的飛行角度在作品中化身為一雙雙天使翅膀，而這些翅膀讓人聯想起希臘悲劇中的「鳥」，劇中描述在天堂與塵世之間有座世界性的鳥國，是座免於恐懼與衝擊的自由之邦，因此當時的雅典人個個成為「鳥國狂」，並希望能得到一對翅膀，以飛向自由。這樣的渴望由來已久，人彷彿以為擁有翅膀便擁有自由與幸福，科技發達的現在，我們乘著大翅膀的飛機橫跨大洋，世界變小了，人並沒有更自由一些，反而像是雙腳被捆綁的天使，雖然可以飛，卻再也飛不高、飛不遠了。施宣宇要說的便是這樣的矛盾與可悲，因此具象化的羽翼帶著濃重的機械風味，有承軸的接合點，有弧狀的主體與方向舵般排列的羽毛，一整排展翅高飛的羽翼，停格畫面的就像未來派所追求的連續動態感，與巴拉的說法是相似的「在瘋狂的疾馳中，變化得像快速的震動。因此一匹奔跑中的馬有的不是四條腿，而是二十條腿…」。此作品的視覺凝視點在於垂直的中軸線，並暗示著振翅高飛，無限延伸，而此中軸線與之前作品中常出現的「準」或「梭」之意象有異曲同工之妙。

   「飛行」主題因觀察的角度與心情的不同，而有相異的形象。展翅欲飛的雙翅、側面雙羽重疊的單翅都被用做視覺的焦點。另一個令人印象深刻的「飛行」形象是「白鷺鷥的身影飛越天際，而影子倒映在田間的那一刻」，影子由本體抽離，去除了真實的形象，美的純粹度也提高，一如布朗庫西的「空中之鳥」上昇的形體表徵無限的慾望，相對於上下垂直，施宣宇的白鷺鷥是向前橫越飛翔，倒影在玻璃之上，波光粼粼，閃動的影像亦虛亦實。在這幾件作品中，施宣宇的脫離數字天書的長篇大論，簡潔的像一首小詩。

【秩序重整】
   「飛行」是人對於羽翼與自由之嚮往，而最近的「秩序重整」系列則是徹底的打破之前的拼圖，重新再來過，施宣宇對自由原型的企盼，以破解取代了再複製，荷佛（Hoffer）說：「自由毀滅了秩序，而人對秩序的渴求則毀滅了自由。」秩序重整勢必收回自由，水平橫軸兩端的拉鋸戰永不停歇，在正與反，自由與秩序之間期望找到一個「中介空間」，而圓點網狀透空的符號即是施宣宇的正反二元對立的中介點，這個穿透空間結合內外，統整元素間彼此的關係使得作品成為完整一體的王國，一如布朗庫西融於一體的完整性雕塑理念。秩序重整象徵著施宣宇的創作轉變，也似乎讓人們由世紀末的不確定與混亂中甦醒，新世紀的來臨又是一切如新。

   施宣宇的陶不只是陶，素材的延伸擴展與多元論述，打破了藝術媒介的侷限。從條碼、數字天書到所有符碼的消失，施宣宇似乎隨著時間的前進更加簡約，而他所熱愛的機械美學也由具象的形體運用，變成萃取分離後的抽象精神，以更含蓄的隱喻，寂靜無聲地展現我們身處的世界與面臨的問題。隱喻法的迂迴曲折一方面去除了機械美學的冷酷，一方面也加強了觀者對作品的感受力與對問題的反思，因此施宣宇的「變」在我眼中不諦是另一種的成熟。

On the Wings of Mechanical Beauty:
A Discussion of Shi Hsuan-yu’s
Wings in the Wind- Ceramics Solo Exhibition

Lu Pei-yi

For the younger generation living in post-modern cultural environment, inner demands and external expression, always seems as disassociated as a collage of segmented images from daily life. Disorderly inner/outer contradictions lead to the hard-to-understand X and Y generation. This gap is displayed in Shih’s works in a different form. His contradictions coexist with contradictions through shock treatment, inclusive of both internal and external problems. Internally, he depends on a positive-negative dualist view of the universe, which has become a deep felt source of belief and order. However, this metaphysical thinking challenges the outside with a modern industrial mechanical beauty that is precise, cold and also elegant, as a mirror that reflects contemporary life. His contradictions are also shown in the contrast and stylistic diversity in the way material characteristics are transformed. Using soft clay, Shih creates a machine-like solidity and borrows the unique vocabulary of architecture, seemingly using his hands to make a series of modern castles.

“Mechanical Aesthetics”

The industrial revolution at the end of the 19th Century, created a situation in which people worshipped machines. The completion of the Eiffel Tower stood as a testament to the machine age, giving people a whole new experience. Artists were also inspired. Picasso and the Cubist school of Georges Braque deconstructed objects, reassembling and making collages of them using geometric shapes. The mechanical school developed by Fernand Leger, which took military life as its foundation, depicted people in paintings as clumsy machines. The Italian Futurist School and Russian Structuralists represented new forms of artistic expression that followed the impact of the mechanical world.

However this kind of mechanical worship disappeared amidst the fighting of WWI and WWII. The cruelty of war destroyed the purity of ideas about machines, without allowing people to leave life in the mechanical world. Indeed, the stronger the urge to leave, the greater the realization that man had already become part of the machine. Traces of this love-hate feeling can often be seen in Shih’s work. The piece “Sky Corridor” has wings of desire that are spread and flying high, taking with them the fall of people after technological convenience, the cages and shackles of modern life that imprison the body, spirit and mind. We are like Faustus dealing with the devil, having no soul just the body of a machine, wandering like zombies on the streets of our big cities.

Shih Hsuan-yu’s mechanical beauty comes from his life in the ROC Marine Corps. The large armaments warehouses, round tube-shaped pill boxes, beautiful arc-shaped boats, billowing sails, the symbol of the anchor and image of the standard, all led to his fascination with the mechanical world. From sea to land, Shih’s mechanical beauty comes from modern architecture, especially the organic form of post-modern buildings, architectural language that includes uncertainty, kinetic energy, cracking, anxiety, dual decoding and multi-element dialectics. Looking at the Notre Dame du Haute chapel by 20th century master Le Corbusier, the New York TWA building by Euro Saarinen or Frank Gerry’s Guggenheim Museum in Spain, images of boats or wings have inspired Shih’s mechanical beauty. It could be said that his ceramic art are miniature buildings, utilizing architectural vocabulary in his work, enriching the vision and possibilities of ceramic art and fully realizing the interconnected nature of fields in post contemporary art.

The Impact of “New”

Shih suggests that his study trip to the West Coast of the US last summer caused him gave him “turmoil.” As a result, he was forced to change and transform his creative process, something he likens to adjusting to jet lag. The artist describes himself as an overburdened angel that has forgotten it can fly. As a result, on returning to Taiwan the first thing he did was put to one side all of this baggage, reflect and slowly digesting al he had learned. “Time”, “flight” and the “reestablishment of order” were his main themes in this period.

The work “Screening Jump Time” in which a corner of the earth is lifted up by a sardine tin opener, is an extension of earlier “time” motif works. Under the raised corner are numerous clocks, each hand an encouraging poke, pushing people continually forward. Time really does reach everywhere and is always with us. Some people say: “Watches are the handcuffs of the twentieth century’s and the cell phone will be the manacles of the twenty-first century.” To continually feel the passing of life is a scary thing. If even the desire to disappear for a short while cannot be realized, then all we can do is sigh at the misery of modern people. Pagers, cell phones and E-mail always find us, and with such handcuffs and manacles even angels cannot fly. The angel looking down from above in the piece “The Archangel of the World” and the “The Warruors of the Light” with the dagger in its hand cutting through time in “Warrior of Light” seem to be the personification of people’s hearts at the end of the twentieth century.

Bird Country Crazy Desire for Flight

“I do not thirst for freedom, but I am keen to look down from on high at the rebuilding of the world as I fly.” Shih says that in his work the flying perspective is transformed into pairs of angel’s wings and these bring to mind the global bird kingdom between heaven and earth described in the Greek tragedy “The Birds,” a country free of fear and conflict. At the time all the people of Athens became “Bird kingdom crazy” hoping to acquire a pair of wings and fly to freedom.

This kind of thirst has been developing for a long while, with people seeming to believe that wings will give them freedom and happiness. In the technologically advanced world of today we take planes with large wings across the ocean. The world has become smaller, but people are not freer, in fact they are like angels with bound feet, able to fly but not high or far. What Shih wants to discuss is this kind of contradiction and sadness, hence the representational wings have a heavy mechanical flavor and joint points, an arc-shaped main body and rudder-like arrangement of the feathers, like a line of feathered wings set to spread and fly high. The freeze-frame image is like the feeling of continuous movement sought by the Futurist School. His explanation is similar to that of Bala: “Amidst the crazed gallop, changes have to be like rapid vibrations. So, the running horse doesn’t have four legs, it has twenty.” The visual focus of this work is the central vertical axis, implying the spreading of wings, flying high and limitless extension. Relative to the idea of a “standard” or “shuttle” that appears in the previous work, this axis achieves the effect in a different way.

The “flight” theme has different images depending on angle of observation and state of mind. The pairs of wings are spread and ready to fly and from the side the single wings with layers of feathers are the visual focus. Another “flight” image that leaves a deep impression is the “shadow of the white egrets flying across the sky and the shadow reflected inverted in a field.” The shadow separates from the body eliminating the real image and enhancing the purity of beauty, just as Constantin Brancusi’s “Bird in Space” symbolizes infinite desire. Aligned vertically, Shih’s white egrets are flying forwards and appear as inverted images on the glass. The glistening, shimmering image is both false and real. In these few works, his eloquent discourse, detached from secret message numbers is as concise as a short poem.

Reestablishing order

“Flight” concerns the desire of people to have wings and be free. More recently, the “Reestablishing order” series made a complete break with previous work starting from scratch. Shih’s expectation of the original prototype of freedom replaces reproduction with decoding. Hoffer says: “Freedom destroys order, and the desire of people for order destroys freedom.” The reestablishment of order inevitably involves taking back freedom. The tug of war between the two ends of the horizontal axis never ends as we search for an “intermediate space” between positive and negative, freedom and order. Dotted net shaped empty symbols are the intermediary point for Shih’s counter-position of negative-positive dualism. This penetration of space, unity of internal and external and systemization of relationships between the elements, allows the work to become a complete kingdom, just like Brancusi’s concept of comprehensive sculpture. The reestablishment of order symbolizes a change in Shih’s creativity and seems to wake people from the uncertainty and turmoil of the end of century period, to a new century where everything is new.

Shih Hsuan-yu’s clay is not just clay, the extension and diverse discourse of materials shattering the barriers between art mediums. From barcodes, to secret message number books, to the disappearance of all symbols, it seems that Shih is becoming simpler with time and the mechanical beauty he loves so much has transformed from the use of representational forms to an abstract spirit, that involves absorption and separation, using more restrained allusions to silently express the world in which we live and the problems we face. On the one hand the circuitous metaphor removes the coldness of mechanical beauty, on the other it also strengthens the ability of the viewer to feel the work and reflect on questions. As such, I would say that to my mind Shih’s “change” should be seen as an alternative form of “maturity.”

]]> http://www.unit-9.com/blog/article.asp?id=30 <![CDATA[少年叛客的密碼-載於陶藝雜誌]]> unit.office@gmail.com(Samuel) Sat,01 May 1999 14:51:55 +0800 http://www.unit-9.com/blog/default.asp?id=30 　　第一次在施宣宇工作中拜訪他是在他父母天母的家中，宛如撞進一座重金屬的癲狂園；後來他在龍潭有了一方自己的天地，在這只自己設計，甚至施工佈置的索居盒中，裝的還是震天嘎響的搖滾樂和一個沉思工作的少年。

用數字傳教的異類

　　從打上條碼的陶罐到佈滿數字的天書之作，符號的議題是施宣宇作品中相當耐人尋味的一環，這些由數字結構出的謎語般的句子，就像《第五元素》的天人話語（註一），其實是一道道哲學的密碼。如同難以理解的新世代青年詞彙，這些符號屏障了一處私密卻盎然的園地，如果我們僅僅將Nirvana（註二）的喃喃囈語概括為Smells Like Teen Spirits（註三），將另類的符號解讀為世代的隔閡，那麼就只觸碰到人我誤解的表皮。

　　施宣宇的改造語文，其實是他對語言文字的符號意含重新消化的工程之一，透過觀者從數字，到英文，到中文腦袋的還原過程中，幽默地暴露出語文潛在的科學性問題、人類互相了解的意願，以及符號使用者看待符號的態度。這個「數字說話」的頑皮遊戲，在美學及內涵上均反映出現代人的疏離感。

　　一本好書總是不那麼容易讀得懂，從中換得的智慧的喜悅，卻能讓人願意終其一生繼續閱讀的工作。讀施宣宇的作品，猶如閱讀一本好書，在費力解讀數字碑文的過程中，我們認識到這位關注於形而上問題的新世紀維特，在提示語言作為人類彼此溝通的鑰匙卻已逐漸遙遠之外，也提供了相當精闢的哲學觀。

站在宇宙基點的二元論

　　從中西宗教書籍中吸取養分的施宣宇，在創作的態度上傾向於透過二元論的表現形式，尋找宇宙真理的平衡點。作品《蒼穹脊索》的兩塊對稱卻相異的陶面，以西方音樂中的對話形式，與東方哲學中的陰與陽，象徵了一體之兩面的相對世界，其中一虛一實的準錐則是他所強調的天體基點。有趣的是，這個類似將人體縱剖，以脊椎為中心藉以檢視復合的相異兩面，在一般從橫切面解析宇宙事物結構的觀點中，提供了縱向的角度。

　　這樣的手法不僅表現於空間事物的概念，同時也表現在時間的主題上。施宣宇對於時間的表現一直保持著很高的興趣，他將時間的流逝與事件的發生比喻為在海上漂流，這種向海尋道的浪漫情懷，讓人聯想到荷馬史詩裡尤里西斯的生命之旅。

　　「事物本身並未改變，只是人們從立足點看待它的角度不同」，他透過物體的正反表現過去與未來，並且以回歸天體基點的軸心論點詮釋時間的存在理論。這樣的作品引發我們企圖對「現在」進行捕捉，因而更能理解到，所謂的基點、軸心、真理，事實上不佔空間與時間，不具任何形式，因為任何體積與長度都會失去它作為中心的準確性。

　　這個中心的存在，由於過於精微以致無法為人類所理解，故得仰賴修正中的中心作為危險的平衡點。在我們膠著於此一令人迷惑的當下，卻冷不防被作品上嬉謔的捕鼠夾嘲諷一番。這些附著在鐘上的陶土塑出的捕鼠夾，以偽裝的偽裝先引人設想捕捉剎那的情境，再後設地以陷阱姿態出現，因為剎那無法被實質捕捉，而時間就在我們落入盲點之際不斷流逝。施宣宇超越「十二隻猴子兵團」（註三）的惡作劇，指出人類因微觀而痛苦沉浮於時間之河中，表現超越時空錯雜的視野。

　　然而在 "Catch you!" 的嘲諷的背後，我們隱約聽到 "I was there." 的心聲。慢慢地，我似乎開始理解到他那種置身在人工噪音的創作情境，消化現代文明的產物，消化後現代的雜音，以一種自我放逐的尋道方式，在失序中尋找秩序、向黑暗搜尋光的美感、在對立的衝突中找到相對的和諧，探索的是其實一種真正的寧靜。

Amor matris

　　Amor matris，拉丁文，「母親之愛」，按主賓格講是「母愛」，按賓生格講是「對母親的愛」。施宣宇的母親郭雅眉是陶藝家，父親施並致是油畫家，兩位在藝術及東方哲學上都享有極高的聲譽。表面看來，施宣宇似乎得天獨厚地繼承了雙親的智慧財產，並享有令人稱羨的創作自由，事實上如同所有創作者背後都有一段苦澀的思路歷程。作為藝術家，施宣宇勇於選擇與雙親相近的路線，與母親相同的媒材，我不禁設想他有幾次站在創新與突變的臨界點上，然而他並未迷失在前衛藝術的迷思裡，反而以濾去雜質的澄淨作品，正面回報對雙親的愛慕與崇敬。

　　我最初認識的施宣宇嚮往西西里，他的作品有一種機智的雋永，流露著一種極有教養的野性；我觀察到的施宣宇彷彿一名少年苦行僧，用宗教般的虔誠以及燦爛的青春，藉由捏土、塑陶、修坏、燒窯完成體悟中的人生；我所理解到的施宣宇，在頹廢與罪惡的美學中尋找涅盤與真理，用陌生而美麗的新語言重新詮釋日漸褪色的預言。他的作品如同新約聖經《約翰福音》言：「光在黑暗中放亮，而不為黑暗所理解」，喬依斯(James Joyce)卻在《尤里西斯》Ulysse以「這是一種在明亮中放光而又不為明亮所理解的深沈。」所作的時代新詮。願海上冒險的少年英雄宣宇，繼續用秉性澄澈的明鏡對準世界，照出現代人隱蔽的靈魂。

註一：第五元素的宇宙形成觀見於希臘哲學家亞里斯多德與西藏密宗的文獻中，為一使世界免於毀滅的元素。電影《第五元素》以人的具體形象表現，其陌生的語言不為常人所理解，卻是攸關宇宙和平運行的哲理。
註二：Nirvana，原意為涅盤，此為一在西雅圖崛起的迷幻搖滾樂團。
註三：Smells Like Teen Spirits，字面意義為「聞起來像青少年精神」，Nirvana樂團成名曲。
註四：十二隻猴子兵團，The Army of Twelve Monkeys，好萊塢電影，敘述深居地層下的未來人類，企圖回到二十世紀末阻止毀滅性病毒的傳播，藉以扭轉世界的命運。片中由於科技與人性的謬誤，造成時空的混亂感。

（文另載於九八年五月份的陶藝雜誌）

Youth Punk code
Chiu Hsin-hui

The first time I visited Shih Hsuan-yu was at his parent’s home in Tienmu, it was like entering a heavy metal world of madness. He later got his own place in Lungtan, a self-designed and even self-built or arranged abode filled with rock music, the home of a young man pondering the direction of his own creative work.

Teaching Through Numbers

Whether ceramic jars with barcodes or illegible writing full of numbers, the subject of symbols and symbolism is one of the most intriguing issues discussed in Shih’s work. Although his code-like sentences made up of numerical structures, bring to mind the language of heaven used in the film “The Fifth Element” (1), they are in fact a philosophical code. As with the frequently difficult to understand vocabulary of the younger generation, these symbols serve as screen protecting a world that is secret and vital. If we summarize the dream-like mutterings of the pop group Nirvana (2) as “Smells Like Teen Spirit” (3) or interpret alternative symbols as a generation barrier, then we can only ever expect to scratch the surface of misunderstanding between one group and another.
　　
The way in which Shih Hsuan-yu transforms language is one of the processes by which he re-digests the semiotic meaning of the written word. From numbers, to English, to Chinese, the artist humorously reveals the potential scientific problems of language, the willingness of different people to understand each other and the way in which those who use symbols view them. In terms of both aesthetics and meaning this playful game in which “numbers speak” reflects the sense of isolation felt by many people in the modern world.
　　
Any good book is never easy to read, but the joy of wisdom gleaned from it is so stimulating that people usually end up reading for the rest of their lives. Viewing the work of Shih Hsuan-yu is like reading a good book. As we expend effort in interpreting the numerical text, we come to understand that in a new era focused on metaphysical problems, language as the key to the human communication is gradually becoming ever distant. We are also provided with a very incisive philosophical view.

The Dualism of Standing at the Foundation Point of the Universe

Shih Hsuan-yu has learned much from books on eastern and western religion and tends to lean towards the expressive form of dualism in his creative work, searching for the equilibrium of cosmic truth. The two pieces of symmetrical but distinct clay surfaces in the work “”Axis of the Metagalaxy” take the form of a dialogue in western music and the yin/yang of eastern philosophy. This symbolizes the relative world where one object has two aspects, one true the other false, “The Axis of the Metagalaxy” emphasized by the artist. What is interesting is that an act similar to dissecting a human body along the central axis of the spine, allows us to examine the two different sides in more detail. In contrast to the standard horizontal analysis of the structure of the cosmos, we are here presented with a vertically oriented perspective.
　　
This approach is not only expressed in the concept of spatial objects, but also in the realm of time. Shih Hsuan-yu has remains very interested in expressions of time and often uses the metaphor of floating in the sea to the passing of time and occurrence of incidents. The romanticism of looking for answers in the ocean brings to mind the journey of life undertaken by Ulysses in the epic poem by Homer.
　　
“Things themselves do not change, just the way in which people perceive them.” By using the two sides of an object Shih expresses the past and future, returning to the core theory of “The Axis of the Metagalaxy” to explain the existence of time. This type of work creates in us a desire to capture “the now” and thereby understand better that base point, core and truth occupy neither time nor space. They exist without form, because such form would cause them to lose precision as a center.
　　
The extremely profound and subtle existence of this center has made it impossible for humankind to fully comprehend, as a result of which we depend on a changing center as a balancing point for danger. Trapped in the enchanting now, we are unknowingly mocked by the playful mousetrap in the work. Crafted by pieces of clay on the clock, the mousetrap utilizes the device of deception to first make the audience reflect on the point at which the mouse is caught - only then does it appear as a trap because the moment cannot be captured. As we enter a blind spot time continues to flow. Shih transcends the pranks in the Hollywood film “The Army of the Twelve Monkeys” (3), pointing out that man floats painfully in a sea of time, precisely because of its microcosmic view of the world, expressing a vision that transcends the intermingling of time and space.
　　
Behind the satire of “Catch You!” we faintly hear the words “I was there” in our hearts. Slowly we begin to realize the creative plane of the artist, full of man-made noise, digesting the products of modern culture and post-modern sounds. As it searches for a Way out of self-imposed exile and order in disorder, looking for the beauty of light in darkness and finding relative harmony in antagonism and conflict, it becomes clear that discovery is itself true tranquility.

Amor Matris
　　
Amor matris is Latin for “a mother’s love,” which expressed in the nominative is “maternal love” or the accusative “love of one’s mother.” Shih Hsuan-yu’s mother, Kuo Ya-mei is a ceramic artist and his father Shih Ya-chih a painter, both have an esteemed reputation in the fields of art and eastern philosophy. On the surface it appears that Shih has inherited their wisdom and a creative freedom that many would envy. In fact, as with all artists, Shih had to struggle to find his own creative identity and direction. As an artist he courageously chose to remain close to his parents, working with similar materials to those used by his mother. I cannot help but think that he must have stood on the edge of innovation and sudden change on several occasions, but still managed not to lose himself in avant-garde ideas. Indeed, his clear works with all impurities screened from them, serve as positive reflection of the artist’s admiration and respect for his parents.

When I first met Shih I thought of Sicily. His works possess an intriguing resourcefulness and reveal a well-cultured wildness. The artist I observed was like a youthful ascetic monk, applying his religious piety and brilliance to the kneading of clay, molding of ceramics and firing finished pieces - its own complete cycle of life. The Shih Hsuan-yu I know searches for Nirvana and truth in the beauty of decadence and crime, using in the process strange and beautiful new language to reinterpret fading prophecies. His works can best be summarized with a quote from the New Testament’s Gospel of John: “Light shines in darkness and darkness did not overtake it.” In “Ulysses” the author James Joyce offers his own interpretation of the age: “This is a darkness that shines in the light but is not understood by it.” Seeking adventure at sea the young hero Hsuen-yu continues to uses his clarity of vision to see the world as it is, calling forth the hidden soul of the modern world.

Footnotes:

1.The formation of the cosmos expressed in “The Fifth Element” can be found in the work of the Greek philosopher Aristotle and in documents from Buddhist Lamas in Tibet. In the film, this is expressed in the physical form of a person designed to save the world, who speaks in a language no one else can understand, but this in turn relates to a philosophy of the peaceful motion of the cosmos.
2.The original meaning of Nirvana is derives from the Buddhist word for Heaven but here it refers to a grunge rock band from Seattle
3.“Smells Like Teen Spirit” was a hit song for Nirvana.
4.“The Army of the Twelve Monkeys” is a Hollywood film that depicts the lives of people forced to live deep underground in the future. An attempt is made to return to the late 20th century to prevent the dissemination of a deadly virus and thereby change the fate of the world. The mixture of technology and human nature within the plot leads to a confused sense of time and space.

(this article was first published in the May 1999 edition of Ceramic Art)

]]> http://www.unit-9.com/blog/article.asp?id=38 <![CDATA[Volkswagen 領袖人物系列專訪—九座寮聯合事務所負責人施宣宇]]> unit.office@gmail.com(Samuel) Mon,16 Jul 1900 18:02:47 +0800 http://www.unit-9.com/blog/default.asp?id=38 Volkswagen領袖人物系列專訪---九座寮聯合事務所負責人施宣宇
努力活著   因為夢想在地球的另一端

文 / 曾依秀

【引言】

看著自己  發現  我越來越像鼴
眼睛  越來越小  手掌越來越大

每天  在黑暗中  獨自挖掘

偶爾  接近地面  似乎能  聽見外面的聲音
陽光  空氣  花和水  那是大家開心的聲音
我摀著耳朵  拼命往另一個方向去

夢想  就在地球的另一端

這輩子  能挖多深  能穿越所有地層嗎
真的好想  跟大家一起嬉戲

唷呼~  唷呼~

地底有其他鼴鼠在嗎?

【段標】夢想誕生

1974年，現在的陶藝家施宣宇(Samuel)誕生於台北。即使父親是油畫家，母親是陶藝家，施宣宇仍然在職場上兜了一圈才決定落腳在藝術界。16歲開始，施宣宇做過的正職與兼職工作不勝枚舉，如組裝電話、端盤子、洗碗、切水果、吧台、擺路邊攤、賣黃牛票、便利商店店員、廣告公司設計等，他不斷嘗試，只想找到一個值得自己託付終生的行業。

白天上班，晚上讀夜校的施宣宇，終於因操勞過度爆發急性肝炎，肝指數破兩千(標準約為四十)，連醫生都表示無能為力。施宣宇心想，「我還沒有成就『過去』耶！如果這次沒掛的話，一定要好好玩一玩，努力活到那個時候。」左思右想，總覺得藝術家這個工作最好玩，1996年，施宣宇創立了九座寮聯合事務所，一個人，一隻貓，開始了邁向「在法國羅浮宮三角廣場舉辦個展」夢想的長征。

所有的創作者都必須經過苦澀的思路歷程，施宣宇並沒有因為家學淵源而例外。「藝術就是這樣，如果你有一個好老師，可能可以很容易達到一個境界，但是到達這個境界之後，就很難突破。我爸媽很了解這個道理，所以從來不教我任何這方面的東西，他們只會告訴我去哪裡買材料比較便宜(笑)。」不過，雙親都是藝術家的好處也不是沒有，「一般父母聽到自己的子女要當藝術家都會反對，不少同學或同業都有這樣的困擾，我就沒有這個問題。」

【段標】十年調校

夢想，驅動著施宣宇前進。1996年到2006年，施宣宇過著即使是日理萬機的經理人也難以想像的忙碌生活。「朋友說是48小時制，就是連續工作兩天，然後睡八小時。我還把一年分成三等份：四個月企劃，四個月執行，一個案子接著一個案子，沒有休假；剩下四個月完全沉澱，只有休閒，累積靈感。」

十年過去，施宣宇多次於海內外舉行個展或參與聯展，獲得不少獎項與典藏，深受各界肯定。施宣宇的陶不只是陶，還結合了金屬、玻璃、石材、木頭等多媒材，表現出哲學性的主題內容。他認為，「陶土只是材料的一種，所有材料都可以被拉進來加以運用；同樣的，陶藝家也只是視覺藝術創作家的一種，我是陶藝家沒錯，但陶藝家並不等於我。」

為了超越舊的自己，施宣宇總是不停思考、發掘新的觀點，看看自己相信的真理，有沒有其他詮釋的可能。完美，對施宣宇來說，就像綁在驢子面前的胡蘿蔔，促使他著手進行下一個作品。每一個作品做完的當下，施宣宇都會覺得，「這是我這輩子竭盡全力所能達到的極限了！」等到隔天起床再見作品，他又會覺得，「真的只能這樣嗎？不是只能這樣吧？『完美』是『下一件作品』；絕對不是下一件會更好，而是，就是下一件！」

【段標】完全中性

除非與Samuel面對面，否則你很難感受他到底是一個什麼樣的人。事實上，即使你見著他了，還是很難向別人形容「施宣宇」，因為他實在是一個很中性的人，如水一般，悠然隨著環境改變自己的姿態，始終保持本性的循環。

舉例來說，不少藝術家害怕被「商業藝術」的帽子扣住，Samuel卻覺得「付錢」是最崇高的讚美，因為「喜歡一位導演，才會願意買票進電影院看他執導的電影」。Samuel說，「做這行是因為真的喜歡，刻意為不商業而不商業反倒侷限住自己。既然以此維生，做得快樂同時達到商業效果才是最後目的。對作品暢銷的藝術家而言，這個目的已經滿足了一半，因為大眾喜歡而且肯定他的作品；至於另外一半，則取決於他是否同樣喜歡而且肯定自己的作品。」

創作之外，Samuel買車時一樣兼顧理性與感性。由於開車的時候只能開車，什麼事都不能做，因此Samuel特別在意車子的座椅坐起來是不是能像沙發一樣舒服；再加上載送大型物品的需要，使得Samuel決定以掀背車代步。買東西之前，一定要研究品牌故事的Samuel，對德國國民車Volkswagen頗有好感。「我很喜歡德國人那種至高無上的自信；Volkswagen是台灣第一個推出掀背車的品牌；GOLF推出的掀背車，第一代剛好是我出生的年份，沙發也好坐，所以就選了它。」

已進入四個月休閒期的Samuel，如今正在日本，進行岐阜縣多治見市與Minonokuni工作室共同出資策動的展覽教學計畫。在連泥漿、釉料都會結冰的雪國山林裡，Samuel努力奮戰著，因為無論如何，他都要往那唯一的夢想的方向，繼續前進。(九座寮聯合事務所部落格：http://www.unit-9.com/blog )

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