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Debris

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

2011-2019

Metallic photo paper、Diasec (acrylic、aluminium frame)|2011-2019

 

"Debris" referred to the discarded remains after destroyed. Intuitively, it described the broken and incomplete model build in the works. More attempts, to re-examine the production process from digitizing to entities, and usable and unusable. By building up wrecked 3D model using front-end developing 3D software. Skip the production, turn into images composed with fragments. Rearrange the sequence of design (start), produce (during), wasted (end). Make the beginning no difference to the ending. Manufacturing means becoming unusable debris.

 

Represent the purity of using 3D software/images as a tool/material on visual experiment. Almost an abstract painting as it sees, the making inside software is more like sculpturing, yet, a piece of photo paper that recorded variety kinds of material simulations and rendering of light and shadow is the final result. Between digital project and objectify image, compressed a modern body into a 2.5-dimensional space.

 

Sub-series <Tools> directly responded to the original usage of 3D software which is design tools. The appearance of a bar responded  tools conceived as a long and thin figure for the comfort and steady with our hands. The outline and small component to make its viewers recall their gestures with an instrument and make them thinking they could operate it even it is just an image. 

 

<Polygons> developed from a single shape that can commonly recognize, with adjustment, copy and overlapped each for several times inside the software, makes it more like a sculpture to its viewers. The combination of materials, colors and shapes has no symbolic intense, but rather randomly choose. Organic and fluid component against large and hard-edge parts leads to an ecological impression, make each one is a small universe to its own shape.

金屬相紙、水晶裱褙(壓克力、鋁框)|2011-2019

 

“Debris”泛指各種破壞毀棄後遺留的殘骸物質,並且多為人造。直觀上形容了作品畫面中破碎的造形。更企圖重新檢視當代生產過程中從數位到達實體與可用和不再可用。使用產品設計前端過程中的3D軟體,直接建構出殘骸化的3D模型,卻跳過實體階段的生產,留下殘骸影像。產品生命史中設計(初始)、製造(過程)、丟棄(終結)的流程重新排序,讓初始無異於終結。“成為無所用的殘骸”即是製造的意義。

 

在視覺經驗上表現3D軟體/影像作為一種工具/材料的純粹性,看似抽象繪畫的質感,於軟體內操作的過程近似雕塑,然而最終剩下的卻是一張記錄了各式材質模擬和光影渲染的相紙。介於數位計畫與影像物體之間模糊了空間維度,將當代中的身體壓縮入了二點五維度。

 

子系列<Tools>回應了3D軟體用於產品工具設計的原始用途。以細長的棒形回應為了適應人手握拿的舒適與穩定度而設計成細長型態的工具。藉由輪廓與局部零件的組合試圖喚起觀者面對一件工具的身體感。透過影像去假想工具的操作機能,彷彿可以透過人手介入而使用之。

 

<Polygons>從大眾能普遍指認的造形作為起始模型,經過軟體內的調變修改而接續繁衍、反覆重疊構成畫面,使得<Polygons>有著更明顯的雕塑感。材質、顏色與造形之間的關係並非是象徵式的,而是以接近隨機的狀態而組合。有機、帶有流體感的零件,與硬邊塊面的大零件形成對比,產生了生態現象的聯想,彷彿專屬自身形狀的小宇宙。

 

Debris|2011-2016

 

 

Tools|2012-2015

 

 

Polygon|2012-2015

 

 

Untitled|2016

 

Series 5|2018~

 

 

Animatrix Biennale 2015-2016|Shanghai MoCA,Shanghai,CN|2016

 

 

Installation View|2012-2015