Angle-Fortune

角度-運氣

 

 

 

 

 

 

 

 

 

 

2016-2017

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.

 
 

相紙紙雕、燈架、描圖紙、麥克筆、壓克力管、噴墨相紙、花崗岩|裝置尺寸|2016-2017

疊石頭塔的行為存在於世界上許多角落。難有人說得清楚最早是誰,或是為什麼而開始,也許只是一種全人類跟自然互動時的原始共感,而後才被發展出差異化的社會意義。有時候只是標記,有時候只是遊戲,有時候關乎祈願;但在我眼中關乎幾何。

 

在駐村於韓國期間,我偶然在地鐵看到了一則百潭寺溪谷的旅遊廣告,在雪嶽山國家公園中的一間古廟,廟前河床上有數百座為了許願疊起的石頭塔,直高過人。我把百潭寺溪石頭塔做了3D掃描,將3D模型攤開成為三張<展開圖>對應三個角,測量構成立體模型的三角形的平面角度,得出一個整體平均三角形。將它和完美的正三角型重疊,比較兩者的重心(Centroid)差距。以百分比來結論這座石頭塔離完美有多少偏差,過程視覺化成為一幅<陽山圖>,但數據與願望實現的與否則交由觀眾自行關聯。

 

這些對石頭塔繁瑣的測量與計算過程成為我的另一場儀式,即使最終算出的一串數值與石頭塔之間看似毫無道理──如同所有被寄託運氣的事物。然而在人類的本能之中存在一種對於自然預兆的渴望,希求透過與之互動得以望穿未來。神秘壯觀的自然與明確卻低調的數學,兩者之間其實都可信也不可信,我們卻總會找到自己的執迷。

 

在駐村結束後,我在台灣找尋類似百潭寺溪石頭塔的石材,我發現了尋常的花崗岩地磚。我把地磚砸碎,再將碎片修整成最接近的三角形,成為另一種憑運氣隨機產生的造型物件,作為<展開圖>的紙鎮成為一道小山景。另一組影像作品<Pattern>,則以在百潭寺溪現場拍攝的影像花絮做圖層的疊加調變,成為壓縮且抽象化的田野紀錄,有如不斷聽人轉述卻越發迷惘的旅遊分享。

 

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

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

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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

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

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

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

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Pattern

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

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Pattern - Unrolled

PP prints, stainless steel rack|installation size|2017

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

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Berlin, German (+49)01636895336|Tainan, Taiwan (+886)0955884265|wclunx@gmail.com     

 2020 © Wu Chuan Lun  

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