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 2019 © Wu Chuan Lun  

Coast Mining

沿岸採礦

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

2014-2015

Petrochemical objects、sea sand、photo paper、Diasec (acrylic、aluminium frame)|Installation Size|2014-2015

 

In Tainan, we have a disregard coast, enormous amounts of consumer waste trashed on this remote beach. Some oyster-farmer came here to burn oyster trellis in order to retrieve metals. Garbage that blurred with discard or burn, further deteriorated with heavy weathering near the coast, giving texture with erosion and sunlight. Over time, shells, sand and petrochemical waste that is hard to decompose by nature fusing each other into some strange objects. Nature domesticated these unconsciously “products" a local "mineral".

 

The so-called “Mineral" appears like nature, but made with composite materials that are not admitted and insoluble in nature. These "Mineral" indicates that classification of "artificial" and "natural" are no longer applicable in this circulating world. Perhaps the "naturalization of artificial objects" and the "artificialization of natural objects" will become a more meaningful standard of differentiation.

 

“Mineral” as a metaphor of resource. Conceptually recycling these trash into mineral. To avoid product discard after recycling, I then recycle these "mineral" into digital data with a 3D scanner. Transcoding "mineral" into 3D model files that have no thickness yet still maintain its volume and surface texture, the soul of object abstract from trash that toward to the end of use value, and reincarnation inside front-end software. Series modify, copy and recompose change the digital model of "mineral" rapidly, I named this process "<Digital Weathering>. For (α) series, the second-born model from scanning mixed with software-originated model and sticks each other, like organics stick with artificial in nature after a long time. (β) series use only models from scanning, modify and copy itself, with pattern material replace orderly achieve a self-cycle.

石化材質物件、海沙、相紙輸出、水晶裱褙(壓克力、鋁框)|空間尺寸|2014-2015

 

在台南有一處乏人看管的海岸,大量的生活垃圾被丟到這個鮮為人知的海灘。有些蚵農到此焚燒蚵架以便回收其中的金屬。這些因為丟棄或遭受焚燒而面目模糊的垃圾,隨著海岸強烈的風化作用進一步劣化,曝曬與侵蝕生成節理。塑膠、泡棉等難以被自然分解的石化材料與蚵殼、海沙等在沙灘上逐漸融合成一塊塊奇特的聚合物。這些“東西”在自然的馴化之下成為某種出產於當地的“礦”。

 

 這些“礦”有著近似天然產物的外表,材質卻是不容/溶於自然的當代合成材料。他們具體地指出了過去被簡易二分為“人造品”或“天然物”的物質分類在步入人類世時已顯得不再恰當。當世界只作為物質循環的平台,以利用程序之先後為考量“人造後自然化”亦或“天然後人造化”或將成為更具有積極意義的分類準則。

 

 “礦”亦隱喻了將之資源化。先觀念性的將這些垃圾回收為“礦”,而為避免落入物質回收再利用而在被丟棄的宿命。我以3D掃描將“礦”回收為數位檔案。當“礦”轉為沒有厚度,卻依舊保有原物量感與表皮質感的3D模型檔案,步入利用價值盡頭的殘骸有如被提取出了靈魂,得以在前端軟體之中轉生。軟體內部一系列參數調變、複製與重組,使得"礦"的數位模型快速的形變,這過程我稱之為<數位風化>。其中(α)系列混入了原生自軟體中的模型,與掃描得來的次生模型膠結附生混合,一如長期浸淫在自然中而與有機物結合的人造物體。 (β)則以單一掃描得來的模型自我複製調變,有規則的替換材質貼圖成為一組循環。

 

Taipei Biennial 2014|Taipei Fine Art Museum,Taipei,TW|2014

Dreams‧Habitations|National Taiwan Museum of Fine Art,Taichung,TW|2015

 

The Fourth Age of Man - Contemporary Art in Jinguashi|Gold Museum,New Taipei,TW|2018

 

 

DIgital Weathering (α) 數位風化 (α)

Photo paper、Diasec (acrylic、aluminium frame)|size diversity,7 pieces|2014

 

 

DIgital Weathering (β) 數位風化 (β)

Photo paper、Diasec (acrylic、aluminium frame)size diversity,7 pieces|2014

 

 

The “Minerals”