台北當代藝術館 官方網站 Museum of Contemporary Art, Taipei

【限・景】為藝術家施富錡在當代藝術館實驗空間的個人首展，本展融合了傳統陶瓷的材料技法，現代藝術的形式美學和當代創作的議題呈現。「限」意指一個「圈定的範圍」或一種「有止之境」，本展指涉了人類生活中有關時間或空間的各種制約，呈現人在無形的框架之下，面對壓力而作的不同選擇和對應，因而造就了視野與心境上不同的景象。藝術家藉由創作實踐，將生活與環境中種種限制下的感受轉化為作品，將作品當作個人生命文本的註記、詮釋與回視。

施富錡的創作動機，源自近年來個人家庭生活的經歷與變化。本次個展，他藉由第一展間呈現《自思系列》作品，闡釋「家」的精神概念，以及「家人」所象徵的認同與安全感。進入展場最先看到的〈生活物語II〉陶瓷壁面裝置，造型結合了嬰兒奶瓶和兒童彩色畫筆的雙重意象，以活潑歡愉的調性，鋪陳了藝術家初為人父的喜悅之情。接著呈現的主要展品，一是牆面上以二十五件方形陶雕組合而成的〈觀我〉壁面裝置，透過制式抽象的彩色框架，呈現一個個五官被擠壓變形的個人面容，探討了外圍空間對內在心境的宰制關係。二是以立體化的陶塑人像組作〈表象I〉和〈表象III〉等。如同寫日記或生活隨想一般，《自思系列》註記了藝術家個人因外在環境/生活模式的改變，而跟著產生的各種內心波動。

第二展間的《凝窒空間系列》，主要展品包括兩件壁面裝置，和一件大型空間裝置。這三件作品都應用到了「蛞蝓」與「蝸牛」這個獨特的造型體和象徵物。在〈餐點〉裝置中，大大小小的陶瓷蛞蝓，三五成群地攀附在青瓷圓盤中，以看似「盤中飱」的姿態和陣容，指涉了無殼蝸牛族的苦楚和抗爭；〈炒手〉結合了從漆黑到艷彩的各式人手，演出弱勢的單體被炒家操控擺佈的大型默劇。本展最大的一件空間裝置〈覓〉，以成百上千的白色小蛞蝓，群聚在如超高樓房的黑色大方柱四周地面，對比的場景和戲劇氛圍，也彷彿是近年各種群眾運動的縮影。
這個作品系列，見證了藝術家初入社會後，伴隨著結婚生子之樂和安身立命之需，而四處尋屋找房的心情波動和精神焦慮。事實上，這些作品寓藏的疾俗與憤世之情，已從個人的情緒表達延伸至一種社會批判的姿態和意義了。


第二展間的《凝窒空間系列》，主要展品包括兩件壁面裝置，和一件大型空間裝置。這三件作品都應用到了「蛞蝓」與「蝸牛」這個獨特的造型體和象徵物。在〈餐點〉裝置中，大大小小的陶瓷蛞蝓，三五成群地攀附在青瓷圓盤中，以看似「盤中飱」的姿態和陣容，指涉了無殼蝸牛族的苦楚和抗爭；〈炒手〉結合了從漆黑到艷彩的各式人手，演出弱勢的單體被炒家操控擺佈的大型默劇。本展最大的一件空間裝置〈覓〉，以成百上千的白色小蛞蝓，群聚在如超高樓房的黑色大方柱四周地面，對比的場景和戲劇氛圍，也彷彿是近年各種群眾運動的縮影。
這個作品系列，見證了藝術家初入社會後，伴隨著結婚生子之樂和安身立命之需，而四處尋屋找房的心情波動和精神焦慮。事實上，這些作品寓藏的疾俗與憤世之情，已從個人的情緒表達延伸至一種社會批判的姿態和意義了。 A Journey of the Soul is Fu-chi Shih’s first solo exhibition at MoCA Studio. The exhibition integrates traditional ceramic techniques, aesthetics of modern art and issues of contemporary artistic creation. The Chinese word, “xian,” means “a prescribed area” or “a limited realm.” This exhibition refers to all kinds of confinement related to time and space in human life; it represents that, within an invisible framework, when facing stress, people would make different choices and come up with various coping mechanisms, which create dissimilar landscapes in vision and in the frame of mind. Through the making of art, Shih has transformed into artworks his feelings stimulated by the restrictions in life and those of the environment, rendering these works a form of personal notes, interpretations and reexamination of his life.

Shih’s creative motivation originates from the experiences and changes in his family life. Therefore, in this exhibition, he has displayed Reflection Series: the concept of “home” as well as the recognition and the sense of security symbolized by the “family members” in the first gallery. Entering the room, one will see first a ceramic wall installation, entitled Tales of Life II, which integrates the images of feeding bottles and children’s colorful brushes, demonstrating the artist’s happiness of being a first-time father with a lively, joyous tone. The following principal works: one is a wall installation, Self-viewing, which consists of 25 square pottery sculptures, individually showing a face with crushed features—a piece that explores the environment’s domination of the inner realm. The other work is a set that includes Surface I and Surface III, which are three-dimensional pottery head sculptures. Similar to writing diary entries or jotting down some thoughts in life, Reflection Series marks the artist’s inner fluctuations resulting from the changes in the exterior environment or lifestyle.

Room of Oppression Series in the second gallery is primarily comprised of two wall installations and one large spatial installation. These three works all employ the unique forms and symbols of “slugs” and “snail shells.” In the installation, Meals, ceramic slugs in various sizes attach to celadon porcelain plates in small groups, turning themselves into “meals on the plates” while implying the suffering and struggle of people that cannot afford to buy houses. Manipulation I is a work that combines all kinds of human hands in black and vivid colors, staging a large-scale pantomime about disadvantaged individuals manipulated by real estate speculators. The largest spatial installation, Searching, makes use of hundreds of small white slugs clustering on a gigantic black, skyscraper-like square column. The scene of contrast and the theatrical intensity seem to epitomize all the mass movements in recent years. This series embodies the artist’s emotional fluctuations and anxieties coming from the need of searching for a house and settling down after getting married and having a baby as a full-grown adult in the society. As a matter of fact, the cynical view on this world embedded in these works has transformed and expanded from the expression of personal feelings to a kind of social critique.

A Journey of the Soul—Solo Exhibition by Fu-chi Shih embodies the artist’s creative concept as well as expressive method to use objects as metaphors. While voicing and releasing his personal feelings, it also provides an outlet for the agitation and stirring emotion of the public.