【展覽論述】
想像一個展覽的過程，總是在撿拾靈感，從走路、對話、移動與停留中；當我在紙上記錄展覽細節的過程時，紙背有許多字跡透出的壓痕，如果說在移動中找尋事物的靈感與書寫的過程皆是一種撿拾的話，那麽在路上的移動路徑與紙背的書寫痕跡們，也若有似無地重疊在一起了；這裡的所見，直到別處的佇足而有了累積，在足跡或字跡的堆積中，出現了遊歷於紙上的想像。
《谷線》以紙張作為開頭，像是紙上的痕跡，也是移動的路徑；書寫的字跡被紙張所紀錄，紙背成為正面，壓痕變為文字，透過書寫連成概念；字跡也像是走路的軌跡，左腳至右腳的連續時間，移動和書寫是一個不斷複寫的動作，足跡被地面留下，面對一張紙如同想像一個空間，而紙張貌似有了距離，或說處在空間中也是行走並踏逐於紙上，移動是為了接近某些事物，而事物的狀態卻也在移動中產生，並積累成為畫面。
字跡是足跡、紙張像地面、書桌成為空間，從閱讀與走路中逐一被堆砌與壓印；我把這裡視作紙張，在收合與展開的地理上、在正反面的距離裡以及步行的閱讀中，由外而內，逐一回到關於作品意義的想像，並走入其中。
【Statement】
When picturing and planning this exhibition, I was constantly picking up inspirations, no matter from walks or conversations, within the period of moving or staying. I recorded all these details of the exhibition on papers, where inscribed words left marks on the back side. If the process of seeking and writing down inspirations arising in the mobile life is a gesture of picking things up, it seems that all these moving paths or marks on the back side of papers will somehow overlap in an implicit way. What we see in a place stay inside us even if we leave and stop by another. As these footprints and written words accumulate, it’s like we can travel on the papers.
Valley Fold begins with papers. I see marks on the back sides of papers as paths of my migrations. Imagine written words and patterns being recorded down on papers. Through writing, the back side of the paper becomes the front and the marks transform into words then connect into concepts. Handwriting is just like walking traces. Within the time of steps, we constantly make duplicating moves known as writing and moving with all the footprints left on the ground. Facing a blank paper is just like imagining a space. Perhaps we can say being in a space is just like walking and stepping on papers. We move to get close to a thing but the thing generates its state and appearance as we move.
Handwritings are our footprints; papers are the ground; the desk is the space which will be gradually stacked up and as we read and walk. I see this exhibition place as piles of papers. On the folding and unfolding terrains, within the distance of the front and back side, through reading and walking, from the outer to the interior, I return to the imagination of the artwork’s meaning, and eventually walk into it.
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【關於藝術家蔡宗勳】
蔡宗勳，1994年出生於彰化，現居住與工作於台北。作品聚焦在如何以視覺錯位的差異、影像對位的關係及空間與敘事的邏輯安排，帶進自我排列的系統與組合中，空間成為敘事的通道，作品即是原點，由人的感知而漸漸走入其中。近期聚焦於以個人或微小的經驗，擴張出作品與思考的敘事範疇，以此推論出影像、事物及空間的在場或缺席。
Born in1994.Lives and works in Taipei.Tsai’s current artworks are emphasize the way of seeing in daily life. He is interested in the relationship between the viewed subjects and their viewers. Utilizing techniques such as collage, dislocation, comparison, he creates a new visual layer on top of everyday and media experiences that alter the original landscape and create optical illusions. Handheld camera images and pictures in alignment are his main way to narrate in his works.Through the relationship between images, objects, and me in life, I ponder the cognitive differences caused by distance, time, and spatial orientation, and use self as a benchmark to identify and confirm the different appearances of things.
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主辦單位｜絕對空間
空間營運贊助｜國藝會
展覽贊助｜臺南市政府文化局
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展覽日期 Date｜2021/8/29 (Sun.) -10/03 (Sun.)
開幕茶會 Opening｜8/29 (Sun.) 15:00
座談時間 Forum｜8/29 (Sun.) 15:30
與談人 Guest｜陳松志
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展期
日期：2021-08-29 ~ 2021-10-03
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地點
台南市中西區民生路一段205巷11號
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參展藝術家
蔡宗勳
內文引用：非池中藝術網
圖片來源：非池中藝術網
文章更新2021/8/19
