Debris

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

2011-2020

Inkjet print, Diasec (acrylic, aluminum frame) | 2011-2020

 

The collapse of the Twin Towers in 2001, the 2004 Indian Ocean tsunami, the March 11 nuclear disaster in Japan in 2011, these catastrophic aftermaths were all broadcasted through the media. The architectural ruins mixed with unrecognizable man-made products were covered in mud slides and dirt. Debris, fragments, scraps formed my impression of the beginning of the 21st century. The title Debris refers to all residuals, mostly man-made, left after disasters. Intuitively, the word serves as a description of the sculptural form in this series; and through this word, I further explore the changing identity of usable and unusable contemporary “objects (products)” in digital and material forms.

 

I use 3D modelling software to create debris-like 3D models that are virtually functionless in reality, skipping the process of material production and only keeping the computed images. By reorganizing the procedures that constitute a product’s life, including design (start), production (process) and disposal (end), the beginning is rendered no different from the end—“to become useless debris” is essentially the meaning of the production.

 

While the image looks like a painting, the process of creating the image using the software, on the other hand, resembles the making of a sculpture, even though the final product is only a piece of photographic paper. It records the simulations of various materials and the rendering of light, using the image to render material dematerialized and compressing the body into the 2.5 dimension. The approach highlights the pureness of 3D software/image as an instrument/material and responds to modern visual experience.

 

Debris has evolved into several sub-series since 2011. To avoid falling into formal inertia, the making of the series has been slow, and I have re-examined the meaning of Debris in every stage.

 
 
 

噴墨相紙、水晶裱褙(壓克力、鋁框)|2011-2020

2001年雙子星大樓倒塌,2004年南亞海嘯,2011年日本311災變,透過媒體撥送一片狼藉的現場,建築瓦礫、廢棄難辨的人造產品覆蓋在泥流與灰塵之中。殘骸、碎片、廢棄物是我所見的21世紀開端形象。“Debris”泛指在災變意外後所剩下的殘餘,並且多為人造。直觀上,可以視為對這系列作品的造型描述。並透過這一字,進一步提問當代“物(產品)”在數位與實體隨著能用或不能用而轉變的身份。

 

作品形式為使用3D繪圖軟體,直接建模出不具現實使用意義的殘骸化3D模型,跳過實體生產,保留最終運算的影像。將產品生命史中設計(前端),製造(過程),丟棄(終結)的流程重新排序,讓初始無異於終結,“成為無用的殘骸”即是製造的意義。

 

看似繪畫的畫面,於軟體內操作的過程近似雕塑,然而最終剩下的卻是一張相紙──記錄了各式材質模擬和光影渲染,用影像抹平物質,壓縮身體進入二點五維度。凸顯3D軟體/影像作為一種工具/材料的純粹性,對應屬於今日的視覺經驗。

<Debris>2011起至今陸續發展出數個子系列。為了避免落入形式的慣性而緩慢的製作,每一個階段也重新探問Debris的意義。

 

Debris 000|2011-2016

 The beginning, and feels like I am making simple graphic works.

最初始,繪製時的感覺偏向單純的平面作品。

 
Debris NO.001
Debris 004

 

Tools|2012-2015

Tools is a response to the purpose of 3D software used in design products and tools. Tools are often designed as thin, long sticks so that they can be comfortably and steadily held by people. The contour and the combination of components in the series aim to arouse the viewer’s bodily feeling towards a tool, propelling him or her to imagine using the tool, as if the human hand could reach into the image.

回應3D軟體用於產品工具設計的用途。工具常設計為細長的棒條形以適應人手握拿的舒適與穩定。輪廓與零件細節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。

 
Tool A
Tool B
Tool C

 

Polygon|2012-2015

Begins with forms that the public can easily recognized. I apply the software’s functions of parameter adjustment and revision to continuously replicate and overlap the forms to create the images. The obvious non-perpendicular contour makes the images more sculptural. The relationship between material, color and form is not symbolic or narrative but randomly generated. The organically formed, somewhat streamlined components form a contrast to the hard-edged blocks of larger components, bringing to mind ecological associations and forming a geometric microcosm.

選擇大眾普遍能指認的造形,經過軟體內的參數調變、修改而接續複製、疊加等操作構成畫面,明顯的非直角輪廓使其更具雕塑感。材質、顏色與造形之間的關係並非象徵或敘事性的,而是接近隨機組成。有機、帶有流體感的零件,與硬邊塊面的大零件形成的對比引發類似生態的聯想,彷彿以幾何為名的小宇宙。

 
Square
Circular
Triangle
Pentagon
Drop
Rhombus
Gourd
Trapezoid
Comma
Cross

 

Untitled|2016

Starts with the body, and blends bone structures, organs and diseases into an imaginary torso.

以身體為出發,混合狀似骨架、器官、病症等的元素構成一具想像的軀幹。

Untitled

Series 5|2018~

Series 5 is inspired by my experiences and feelings of living in Berlin since 2017. Dilapidated walls, repeatedly covered graffiti, treacherous light in cellar parties, sickening filth in street corners and inexplicable smog at midnight, Berlin is a city rebuilt upon ruins. Although for some people she is a paradise for unchecked indulgence, the gradually decaying corners are constant reminders of the fact that she is a city filled with broken histories and their fragments.

Different from former Debris, which comprises extensive layers of geometric models, Series 5 is created by applying colors to raw models of material balls, with a lesser degree of experimentation in form and space to render the expression more two-dimensional. Most of the works in this sub-series are painted with the digital brush to directly create lines and details on the model surfaces. If 3D software is a tool to simulate reality, Series 5 simulates abstract painting in a rather specific manner, whereas the implication of Debris has evolved from a signification of digital remnants in the past to a metaphor for the city’s historical memory and material debris. As for the naming of the works in Series 5, each title is followed by a subtitle, comprising a noun and a verb to connect the individual memory of Berlin and that of the public.

啟發自2017年起至今在柏林生活的經驗與感觸。斑剝的舊牆、重複塗抹的塗鴉、地窖派對內的詭光、街角的噁心污垢、午夜空中莫名的煙塵。柏林是個重建在廢墟上的城市,儘管今日她對某些人來說是個縱情的自由樂園,但那些逐漸凋零的角落,都無時無刻提醒你這裡一直是個充滿了歷史碎片的城市。

不同於先前<Debris>系列以堆砌大量幾何模型的方式來構圖,套用純粹材質球的素模來上色的做法。弱化了過往在形狀與空間上的實驗。表現的方式顯得更為平面,多以數位畫筆在模型表面直接地做出線條與細節,如果從3D軟體作為現實的模擬工具來說的話,可以說<Series 5>是具體的去模擬了抽象繪畫。而“Debris”所代表的意涵,也在這個子系列中從過往的對於數位殘餘物的指涉,轉變成為對這座城市中的歷史記憶以及實體殘骸的隱喻。命名上帶有副標,以一個名詞和一個動詞去連結個人與公眾的柏林記憶。

 
 
 
D.V 003 (Stash or pipeline)
D.V 006 (Digest or chewing gum)
D.V 008 (Filter or cellar door)
D.V 009 ((Pollinate or monument)

Week (Landsberger Allee)|2020

Week (Landsberger Allee) revolves around Landsberger Allee, a very ordinary railway station in Berlin, the kind that out-of-towners would not make it a destination or stay longer than necessary. Nevertheless, several railway lines intersect at this ordinary station, making it a somewhat busy railway hub in eastern Berlin. It is also a transfer station between my home and studio in Berlin; and every time I reach the station, it feels like I am either going to work or going back home.
I usually quickly traversed this station, where there always seemed to be some construction work going on and was not particularly clean. Sometimes I left the station with a sense of excitement, and sometimes I returned to the station feeling anxious. However, I sometimes also, after some frustrated situations at work, lingered in the station for a while. The repeatedly removed and added stains and dirt all became signs marking a particular period of busy days.

With marks photographed in the station as a base, I follow the chronological order and keep certain elements from the previous piece in the next one to create a continuity. So, the seven pieces represent a weekly cycle, and their scale mimics the railway ticket.

Landsberger Allee是一個很普通的柏林車站,沒有非本地人會以此為目的地或多做停留的那種。但這個普通車站有數條線路匯集,所以也算是東邊一個繁忙的樞紐——也是我來去住家跟工作室之間的必經轉點,每次到這裡,就有種要上工亦或快到家的切換感。

一般情況下,我都會快速通過這個常常東修西補又藏污納垢的車站。有時興奮的去、有時焦慮的回,但也有時會在工作挫折後彌留在此一段時間。這個車站抹去覆添加的各種污痕和碎屑,最後都對應成為那一段慌忙日子的記號。

以拍攝自車站中的痕跡作為基底材料,依著時間順序,每一件都從上一件保留一點東西連貫下去。七件,一個星期的循環。比例則是車票。

 
Debris - Monday (Landsberger Allee)
Debris - Tuesday (Landsberger Allee)
Debris - Wednesday (Landsberger Allee)
Debris - Thursday (Landsberger Allee)
Debris - Friday (Landsberger Allee)
Debris - Saturday (Landsberger Allee)
Debris - Sunday (Landsberger Allee)

 

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

 

 
Installation view at "Animatrix Biennale 2015-2016"
Installation view at "Animatrix Biennale 2015-2016"
Installation view at "Animatrix Biennale 2015-2016"
Installation view at "Animatrix Biennale 2015-2016"
Installation view at "Animatrix Biennale 2015-2016"
Installation view at "Animatrix Biennale 2015-2016"
Installation view at "Animatrix Biennale 2015-2016"
Installation view at "Animatrix Biennale 2015-2016"
Installation view at "Animatrix Biennale 2015-2016"
Installation view at "Animatrix Biennale 2015-2016"
Installation view at "Animatrix Biennale 2015-2016"
Installation view at "Animatrix Biennale 2015-2016"

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

 2021 © Wu Chuan Lun  

Gourd

Inkjet print, Diasec (acrylic, aluminum frame) | 116×106.4 cm | 2013