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在过去近20年中,展望的作品持续探索着“雕塑”这门古老艺术形式的边缘和潜力,在解构和重构的过程中,他沿着自己独立的思考不断深化着这门艺术的性质和效果。1994年的《空灵空》挑战雕塑和装置、主体与客体的界限;2000年的《公海浮石漂流》融雕塑、环境艺术和行为艺术于一炉,将一件精心打制的不锈钢作品送入渺渺大海;2004-2006年的《佛药堂》反思拜物和信仰、物欲与精神间的依存和悖论;2008年的《第86尊圣像》虚拟形象的历史——那是一个“造像”和“毁像”的双向过程;2010年的《1小时等于1亿年——素园造石机》
In the past two decades or so, the work under way has continually explored the edge and potential of the ancient art form “Sculpture,” which has been deepening along the lines of his own independent thinking in the process of deconstruction and reconstruction The nature and effect. In 1994, “Unrequited Space” challenged the boundaries between sculpture and installation, subject and object. In 2000, the “floating pumice drift in the high seas” fused sculpture, environmental art and performance art in a furnace. A carefully crafted stainless steel piece was sent to Miao Miao The sea; 2004-2006 “Buddha’s Church” reflect on the fetish and belief, materialism and spiritual dependence and paradox; 2008 “the 86th statue” of the virtual image of history - it is a “And ” destroy image “two-way process; 2010” 1 hour is equal to 100 million years - Suyuan Stone Machine "