Paper-craft made with photo paper, lighting tripod, tracing paper, maker pen, acrylic tube, inkjet print, granite|Installation size|2016-2017


The action of making stone piles can be found around the world. No one knows who started this practice or the reason. Perhaps it started from a primitive feeling shared by all humanity when interacting with nature, and slowly gained differentiated social implications – sometimes it is for marking, sometime it is simply a game, and at other times, it could be a form of making wishes. For me, however, it is about geometry.


During my residency in Korea, I saw a tourist advertisement in the metro, promoting tourism in Baekdamsa Valley. There was an ancient temple in Seoraksan National Park, and there were hundreds of stone piles, each taller than a person and stacked for making wishes, erected on the riverbed in front of the temple. I 3D-scanned these stone piles and unfolded the 3D models to create three unfolded Drafts, which corresponded to three angles. Then, I measured the 2D angles of the triangles that constituted the 3D models to obtain an average triangle, which was then overlapped with an equilateral triangle to compare the difference of their centroids. The difference was expressed in percentage to sum up how far from perfection a stone pile was. The entire process was also visualized by another work, Landscape of Sun and Mountain. As for the data and whether a wish could come true or not, I left them for the audience’s interpretation and free association.

The extensive process of measuring and calculating the stone piles became another ritual of mine even though the final numbers might seem irrelevant – as all things associated with luck are – to the stone piles. However, it is human instinct to long for natural signs, which might allow us to glimpse into the future through any potential interaction. The mysterious, majestic nature and the exact, understated mathematics might be believable or not, but humanity would always find its own obsession.


After finishing the residence program, I searched in Taiwan for stones similar to those used for the stones piles in Baekdamsa Valley, and found the common granite tiles. I broke these tiles and polished the fragments into the approximate shape of a triangle, turning them into randomly created sculptural objects that became paper-weight in the form of tiny mountains on Drafts. Another set of images, entitled Pattern, was made of layered and adjusted images photographed in Baekdamsa Valley. The work became a compressed and abstracted field records, just like those travel experiences that seemed less and less clear every time they were recounted.


In another exhibition featuring this project (Ho-Yo Space, 2017), I asked myself how to restage these works that had site-specific qualities in Taiwan. Based on the idea of “(un)fold,” I reimagined the installation of this project. The paper stones stacked as a stone pile shown in Korea were displayed separately, suggesting the incompleteness after being taken away from their place of origin. Drafts, which had been shown unfolded, were rolled up and positioned in the three angles of the triangle so that the complicated numbers could be shown as structures that could be physically perceived. Pattern, hung in a partially unrolled state, was juxtaposed with Landscape of Sun and Mountain, the only fully unfolded image in the exhibition.











作品的另一種展出版本(Ho-Yo Space, 2017),我試圖自我提問具有現地製作特質的駐村作品該如何回到台灣展出,我以“(不)拆封”去重新思考這件作品的裝置佈局。在韓國組合成一體的石頭塔紙雕以不合體的狀態暗示一種離開了地方後的不完整。原本攤開的<展開圖>也捲成管狀,依三角形的三個角度斜擺,讓密密麻麻的數字成為可以用身體感覺的結構。<Pattern>以半開半捲的披掛狀態,對照展場中唯一完全展開的<陽山圖>。



2017 Cre8tive Report|OCI Museum, Seoul, KR|2017

_DSC0002-1 (169)


AF II|Ho-Yo Space, Tainan, TW|2017

2017 HoYoSapce_AF II 006 SS
2017 HoYoSapce_AF II 020 SS
2017 HoYoSapce_AF II 005 SS
2017 HoYoSapce_AF II 019 SS
2017 HoYoSapce_AF II 025 SS
2017 HoYoSapce_AF II 026 SS
2017 HoYoSapce_AF II 004 SS
2017 HoYoSapce_AF II 010 SS
2017 HoYoSapce_AF II 007 SS


Draft (of Stone-pile No.11)|Installation mode

Tracing Paper, maker pen, acrylic tube|202X88 cm, as drawing |220XØ6cm, 3 pieces, as installation|2016-2017

2017 HoYoSapce_AF II 002 SS
2017 HoYoSapce_AF II 009 SS
2017 HoYoSapce_AF II 016 SS
2017 HoYoSapce_AF II 013 SS
2017 HoYoSapce_AF II 015 SS
2017 HoYoSapce_AF II 011 SS
2017 HoYoSapce_AF II 021 SS
2017 HoYoSapce_AF II 022 SS
2017 HoYoSapce_AF II 023 SS


Rendering View - Photogrammetry (of Stone-pile No.11)

2017 HoYoSapce_AF II 014 SS


Rendering View - Photogrammetry (of Stone-pile NO.09)

stone9_xray 2 (21X40cm 300dpi)
stone9_depth 2 (21X40cm 300dpi)
stone9_mesh 2 (21X40cm 300dpi)
stone9_real 2 (21X40cm 300dpi)
stone9_realmesh 2 (21X40cm 300dpi)


Rendering View - Papercraft (of Stone-pile NO.11 & No.06)




PP prints|120X82.5cm, a set of 4 pieces|2016-2017



Pattern - Unrolled

PP prints, stainless steel rack|installation size|2017

2017 HoYoSapce_AF II 017 SS
2017 HoYoSapce_AF II 008 SS
2017 HoYoSapce_AF II 012 SS
2017 HoYoSapce_AF II 024 SS


Relocating Divinity: Being an Atheist Theist|Waley Art, Taipei, TW|2019


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