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｜致力於藝術產業營運知識系統化。以科技典藏經典，讓展覽與藝術無遠弗屆｜
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席時斌專訪
我們知道或不知道的席時斌
當你生活在一個既熟悉又陌生的城市里，那是一個怎麼樣的感覺 ? 當你停留在城市裡面的某一個角落，看著一個個的臉孔飄來飛去，靜下心來，片刻的停留與思考，也許比分分秒秒滑手機來的重要 ? 陳設（建設）與拆解（毀滅），時間（過去與現在）與空間（文明與古代），都是我們的人生經驗裡面的點點滴滴。想像現在與未來加上期待，或許是每個人的人生裡面最想要，最重要的課題之一。席時斌有著建築師的幾何思維，卻沒有工程師的冷冰冰的性格，反應在他作品中的馬的形象，代表了一個時代的英雄氣息。停留及思考是他人生中最重要的兩件事。透過不鏽鋼，木材等多元化等不同的材料，結合不同的思考方向，表現出不同層次的作品深度。
對於創作的看法
Ｑ：我們都知道您在過去幾年以內都努力的在突破傳統創作的形式，您可以跟我們聊聊您的創作理念嗎?
Ａ：
我喜歡傳統的事物，並相信創作建立在個人的文化底蘊。採用新技術手法不只為突破，更是繼承、記錄、重組、構造出更多的狀態，當然在過程中我也勇於捨棄一些。我曾在台北當代藝術館舉行大型個展《記憶之宮》，取自英國史學家史景遷的著作《利瑪竇的記憶之宮》，它的概念在於每個人都可以獨立建造自己的精神宮殿，而建造需要「真實」作為材料。人們會發現到要分辨真實、虛構的二元方法，亦或是過去、現在、未來的線性時間觀，都是非常困難的。簡單的來說，我的創作方法就是不斷讓自己穿越各種超乎想像的記憶宮殿。
捨了肉體⋯描寫內在結構的美感
Ｑ：您覺得一個城市的生命力，表現在藝術作品中的樣子應該是怎麼樣的形式?
您在過去有嘗試過這類的表現方式嗎?
Ａ：
談到生命力，多數人會想到活力或是年輕朝氣的部分。但完整的生命力包含著衰退、老化甚至死亡的部分，如此的想像才是一個完整生命的運作。所謂的城市的生命力也是相同。很少人會說：讓我們來呈現一座城市老化/衰敗的生命力吧 ! 一旦能理解這個觀念後，我們會發現到世界上最有魅力的城市，往往是包含著生老病死的各種面向。這是我作為藝術家的觀察，反映在作品上，我的雕塑有很多描寫骨骼..等內在結構的美感。這與其他著重於肉體感的雕塑家是有不同的，也是我叛逆的部分，我捨了肉體，細分出了骨骼，血管，內臟，皮膚來彰顯更多的可能性，這應該就是我個人表現生命力的方式。
Ｑ：請問您為何對馬的創作主題或載體特別有興趣?
在您的生命中馬對您有何意義? 跟您的創作的主要鏈接點在哪裡呢?
Ａ：
最先是因為牠夠大，尺寸比人大的主題對雕塑而言是一個必然命題。再來是我很難忘了牠，我一直記得它，但也不記得牠在我生命中有任何意義。這就是所謂的神祕感，包含了命運或是愛情的層次。當然馬本身具有非常豐富的文化意涵，在人類的歷史中也扮演許多角色，不過這就是另一種書寫面向。
台灣藝術環境的看法
Ｑ：以您的經驗來看，國內現在的藝術環境最不足的是那一點? 誰最應該負起這個大環境的責任?
政府與民間又該如何來搭配，創造優質的藝術環境與氛圍?
Ａ：
台灣的藝術環境的不足根源的問題是參與者的不足。白話的說：最大的問題是藝術家不夠多。藝術家在藝術生態中是核心也是最具生產力的位置，所以要有很多的藝術家才可能會有建全的藝術生態。但一個城市要能生養很多的藝術家，必須要是一個文化建設很深耕的社會。所以大家在參與藝術時可以抱著一個播種的心態來，日後才會有豐富的收穫。
遇到瓶頸時
Ｑ：您可以分享在過去當您創作遇到瓶頸的時候是如何突破的嗎?
是否可以給現在正在奮鬥的新生代藝術家一些實用的建議?
Ａ：
危機就是轉機吧！很像是一定要經歷作不出來才會作出很不錯的東西，我相信累積會有一種很強的力量。
未來展出計畫與夢想
Ｑ：請問您在未來的5年內對您的藝術工作有什麼特別的規劃? 是否可以與我們分享一下?
在國內外有沒有一些新的展出計劃呢?
Ａ：
目前沒有甚麼特別的規劃。國內外展出是交由代理畫廊來安排的，我每天過著專心想新作品的日子，但我自己計劃在50歲時會作出很棒更成熟的作品，這件事已經可以預見。另外一直想進行有關建築立面的創作，不過沒人找我作。（笑）
以上訪談內容經過席時斌工作室同意刊登在LIVART的粉絲專頁，如需轉載請註明出處，謝謝。
Interview with Hsi Shih-Pin
Hsi Shih-Pin, who we know or don’t know
How do you feel when you live in a city that is both familiar and unfamiliar? When you stay in a corner of the city, watching the faces of each other fluttering and floating, calm down, a moment of pause and thinking, perhaps more important than the minutes and seconds of sliding the phone? Furnishing (construction) and dismantling (destruction), time (past and present) and space (civilization and ancient) are all bits and pieces in our life experience. Imagining the present and future expectations, perhaps one of the most important and important topics in everyone’s life. Hsi Shih-Pin has the geometric thinking of the architect, but without the cold character of the engineer, the image of the horse in his works represents the heroic atmosphere of an era. Staying and thinking are the two most important things in his life. Through different materials such as stainless steel, wood, etc., combined with different thinking directions, it shows the depth of different levels of work.
Views on creation
Q:We all know that you have been working hard to break through the traditional forms of creation in the past few years. Can you talk to us about your creative ideas?
A:
I like traditional things and believe that creation is based on personal culture. The adoption of new technical methods is not only a breakthrough, but also inherits, records, reorganizes, and constructs more states. Of course, I also dare to give up some in the process. I once held a large solo exhibition “The Palace of Memory” at the Taipei Museum of Contemporary Art, taken from the work of the British historian Shi Jingqian, “The Palace of Memory of Matteo Ricci”. The concept is that everyone can build their own spiritual palace independently. Construction requires “reality” as a material. People will find that it is very difficult to distinguish between real and fictional binary methods, or linear time views of the past, present and future. In short, my method of creation is to constantly let myself through a variety of memory palaces beyond imagination.
Give birth to the flesh…
describe the beauty of the inner structure
Q:What kind of form do you think the vitality of a city is expressed in a work of art? Have you tried this
type of performance in the past?
A:
When it comes to vitality, most people think of vitality or youthfulness. But the complete vitality contains the part of recession, aging and even death. Such imagination is the operation of a complete life. The so-called vitality of the city is the same. Few people will say: Let us present the vitality of a city’s aging/declining! Once we understand this concept, we will find that the most attractive cities in the world often contain various aspects of life and death. This is my observation as an artist, reflected in the works, my sculpture has many depictions of bones.. The aesthetics of the inner structure. This is different from other sculptors who focus on the physical sense. It is also my rebellious part. I gave up the body and subdivided the bones, blood vessels, internal organs and skin to show more possibilities. This should be my personal performance. The way of life.
Q:Why do you have a special interest in horse’s creative theme or carrier? What does horse mean to you in your life? Where is the main link to your creation?
A:
First, because it is big enough, the size is bigger than the theme of the people is a necessary proposition for sculpture. It’s hard to forget about it again, I always remember it, but I don’t remember it has any meaning in my life. This is the so-called mystery, including the level of destiny or love. Of course, the horse itself has a very rich cultural meaning and plays many roles in the history of mankind, but this is another writing aspect.
Taiwan’s artistic environment
Q:Based on your experience, what is the most insufficiency of the current artistic environment in China? Who should take the responsibility of this big environment? How should the government and the people work together to create a quality art environment and atmosphere?
A:
The problem of the root cause of Taiwan’s artistic environment is the lack of participants. The vernacular says: The biggest problem is that there are not enough artists. Artists are the core and most productive place in the art ecology, so there are many artists who may have a complete artistic ecology. However, if a city wants to raise a lot of artists, it must be a society where culture is deeply cultivated. Therefore, everyone can hold a sowing mentality when participating in art, and there will be rich harvests in the future.
When encountering a bottleneck
Q:Can you share how you broke through when your creations encountered bottlenecks in the past? Can you give some practical advice to the new generation of artists who are struggling now?
A:
The crisis is a turning point! It is like having to go through the process of making a very good thing. I believe that there will be a strong force in the accumulation.
Future plans and dreams
Q:What special plans do you have for your artistic work in the next 5 years? Can you share it with us? Are there any new exhibition plans at home and abroad?
A:
There is no special plan at the moment. The exhibitions at home and abroad are arranged by the agency gallery. I live the days of focusing on new works every day, but I plan to make great and mature works at the age of 50. This is already foreseeable. I also wanted to create a building facade, but no one asked me to do it. (laugh)
The content of the above interviews was approved by Xi Shibin Studio in the fan page of LIVART. If you need to reprint, please indicate the source, thank you.
席時斌專訪
我們知道或不知道的席時斌
當你生活在一個既熟悉又陌生的城市里，那是一個怎麼樣的感覺 ? 當你停留在城市裡面的某一個角落，看著一個個的臉孔飄來飛去，靜下心來，片刻的停留與思考，也許比分分秒秒滑手機來的重要 ? 陳設（建設）與拆解（毀滅），時間（過去與現在）與空間（文明與古代），都是我們的人生經驗裡面的點點滴滴。想像現在與未來加上期待，或許是每個人的人生裡面最想要，最重要的課題之一。席時斌有著建築師的幾何思維，卻沒有工程師的冷冰冰的性格，反應在他作品中的馬的形象，代表了一個時代的英雄氣息。停留及思考是他人生中最重要的兩件事。透過不鏽鋼，木材等多元化等不同的材料，結合不同的思考方向，表現出不同層次的作品深度。
對於創作的看法
Ｑ：我們都知道您在過去幾年以內都努力的在突破傳統創作的形式，您可以跟我們聊聊您的創作理念嗎?
Ａ：
我喜歡傳統的事物，並相信創作建立在個人的文化底蘊。採用新技術手法不只為突破，更是繼承、記錄、重組、構造出更多的狀態，當然在過程中我也勇於捨棄一些。我曾在台北當代藝術館舉行大型個展《記憶之宮》，取自英國史學家史景遷的著作《利瑪竇的記憶之宮》，它的概念在於每個人都可以獨立建造自己的精神宮殿，而建造需要「真實」作為材料。人們會發現到要分辨真實、虛構的二元方法，亦或是過去、現在、未來的線性時間觀，都是非常困難的。簡單的來說，我的創作方法就是不斷讓自己穿越各種超乎想像的記憶宮殿。
捨了肉體⋯描寫內在結構的美感
Ｑ：您覺得一個城市的生命力，表現在藝術作品中的樣子應該是怎麼樣的形式? 您在過去有嘗試過這類的表現方式嗎?
Ａ：
談到生命力，多數人會想到活力或是年輕朝氣的部分。但完整的生命力包含著衰退、老化甚至死亡的部分，如此的想像才是一個完整生命的運作。所謂的城市的生命力也是相同。很少人會說：讓我們來呈現一座城市老化/衰敗的生命力吧 ! 一旦能理解這個觀念後，我們會發現到世界上最有魅力的城市，往往是包含著生老病死的各種面向。這是我作為藝術家的觀察，反映在作品上，我的雕塑有很多描寫骨骼..等內在結構的美感。這與其他著重於肉體感的雕塑家是有不同的，也是我叛逆的部分，我捨了肉體，細分出了骨骼，血管，內臟，皮膚來彰顯更多的可能性，這應該就是我個人表現生命力的方式。
Ｑ：請問您為何對馬的創作主題或載體特別有興趣?
在您的生命中馬對您有何意義? 跟您的創作的主要鏈接點在哪裡呢?
Ａ：
最先是因為牠夠大，尺寸比人大的主題對雕塑而言是一個必然命題。再來是我很難忘了牠，我一直記得它，但也不記得牠在我生命中有任何意義。這就是所謂的神祕感，包含了命運或是愛情的層次。當然馬本身具有非常豐富的文化意涵，在人類的歷史中也扮演許多角色，不過這就是另一種書寫面向。
台灣藝術環境的看法
Ｑ：以您的經驗來看，國內現在的藝術環境最不足的是那一點? 誰最應該負起這個大環境的責任? 政府與民間又該如何來搭配，創造優質的藝術環境與氛圍?
Ａ：
台灣的藝術環境的不足根源的問題是參與者的不足。白話的說：最大的問題是藝術家不夠多。藝術家在藝術生態中是核心也是最具生產力的位置，所以要有很多的藝術家才可能會有建全的藝術生態。但一個城市要能生養很多的藝術家，必須要是一個文化建設很深耕的社會。所以大家在參與藝術時可以抱著一個播種的心態來，日後才會有豐富的收穫。
遇到瓶頸時
Ｑ：您可以分享在過去當您創作遇到瓶頸的時候是如何突破的嗎?
是否可以給現在正在奮鬥的新生代藝術家一些實用的建議?
Ａ：
危機就是轉機吧！很像是一定要經歷作不出來才會作出很不錯的東西，我相信累積會有一種很強的力量。
未來展出計畫與夢想
Ｑ：請問您在未來的5年內對您的藝術工作有什麼特別的規劃? 是否可以與我們分享一下? 在國內外有沒有一些新的展出計劃呢?
Ａ：
目前沒有甚麼特別的規劃。國內外展出是交由代理畫廊來安排的，我每天過著專心想新作品的日子，但我自己計劃在50歲時會作出很棒更成熟的作品，這件事已經可以預見。另外一直想進行有關建築立面的創作，不過沒人找我作。（笑）
以上訪談內容經過席時斌工作室同意刊登在LIVART的粉絲專頁，如需轉載請註明出處，謝謝。
Interview with Hsi Shih-Pin
Hsi Shih-Pin, who we know or don’t know
How do you feel when you live in a city that is both familiar and unfamiliar? When you stay in a corner of the city, watching the faces of each other fluttering and floating, calm down, a moment of pause and thinking, perhaps more important than the minutes and seconds of sliding the phone? Furnishing (construction) and dismantling (destruction), time (past and present) and space (civilization and ancient) are all bits and pieces in our life experience. Imagining the present and future expectations, perhaps one of the most important and important topics in everyone’s life. Hsi Shih-Pin has the geometric thinking of the architect, but without the cold character of the engineer, the image of the horse in his works represents the heroic atmosphere of an era. Staying and thinking are the two most important things in his life. Through different materials such as stainless steel, wood, etc., combined with different thinking directions, it shows the depth of different levels of work.
Views on creation
Q:We all know that you have been working hard to break through the traditional forms of creation in the past few years. Can you talk to us about your creative ideas?
A:
I like traditional things and believe that creation is based on personal culture. The adoption of new technical methods is not only a breakthrough, but also inherits, records, reorganizes, and constructs more states. Of course, I also dare to give up some in the process. I once held a large solo exhibition “The Palace of Memory” at the Taipei Museum of Contemporary Art, taken from the work of the British historian Shi Jingqian, “The Palace of Memory of Matteo Ricci”. The concept is that everyone can build their own spiritual palace independently. Construction requires “reality” as a material. People will find that it is very difficult to distinguish between real and fictional binary methods, or linear time views of the past, present and future. In short, my method of creation is to constantly let myself through a variety of memory palaces beyond imagination.
Give birth to the flesh…
describe the beauty of the inner structure
Q:What kind of form do you think the vitality of a city is expressed in a work of art? Have you tried this
type of performance in the past?
A:
When it comes to vitality, most people think of vitality or youthfulness. But the complete vitality contains the part of recession, aging and even death. Such imagination is the operation of a complete life. The so-called vitality of the city is the same. Few people will say: Let us present the vitality of a city’s aging/declining! Once we understand this concept, we will find that the most attractive cities in the world often contain various aspects of life and death. This is my observation as an artist, reflected in the works, my sculpture has many depictions of bones.. The aesthetics of the inner structure. This is different from other sculptors who focus on the physical sense. It is also my rebellious part. I gave up the body and subdivided the bones, blood vessels, internal organs and skin to show more possibilities. This should be my personal performance. The way of life.
Q:Why do you have a special interest in horse’s creative theme or carrier? What does horse mean to you in your life? Where is the main link to your creation?
A:
First, because it is big enough, the size is bigger than the theme of the people is a necessary proposition for sculpture. It’s hard to forget about it again, I always remember it, but I don’t remember it has any meaning in my life. This is the so-called mystery, including the level of destiny or love. Of course, the horse itself has a very rich cultural meaning and plays many roles in the history of mankind, but this is another writing aspect.
Taiwan’s artistic environment
Q:Based on your experience, what is the most insufficiency of the current artistic environment in China? Who should take the responsibility of this big environment? How should the government and the people work together to create a quality art environment and atmosphere?
A:
The problem of the root cause of Taiwan’s artistic environment is the lack of participants. The vernacular says: The biggest problem is that there are not enough artists. Artists are the core and most productive place in the art ecology, so there are many artists who may have a complete artistic ecology. However, if a city wants to raise a lot of artists, it must be a society where culture is deeply cultivated. Therefore, everyone can hold a sowing mentality when participating in art, and there will be rich harvests in the future.
When encountering a bottleneck
Q:Can you share how you broke through when your creations encountered bottlenecks in the past? Can you give some practical advice to the new generation of artists who are struggling now?
A:
The crisis is a turning point! It is like having to go through the process of making a very good thing. I believe that there will be a strong force in the accumulation.
Future plans and dreams
Q:What special plans do you have for your artistic work in the next 5 years? Can you share it with us? Are there any new exhibition plans at home and abroad?
A:
There is no special plan at the moment. The exhibitions at home and abroad are arranged by the agency gallery. I live the days of focusing on new works every day, but I plan to make great and mature works at the age of 50. This is already foreseeable. I also wanted to create a building facade, but no one asked me to do it. (laugh)
The content of the above interviews was approved by Xi Shibin Studio in the fan page of LIVART. If you need to reprint, please indicate the source, thank you.
席時斌專訪
我們知道或不知道的席時斌
當你生活在一個既熟悉又陌生的城市里，那是一個怎麼樣的感覺 ? 當你停留在城市裡面的某一個角落，看著一個個的臉孔飄來飛去，靜下心來，片刻的停留與思考，也許比分分秒秒滑手機來的重要 ? 陳設（建設）與拆解（毀滅），時間（過去與現在）與空間（文明與古代），都是我們的人生經驗裡面的點點滴滴。想像現在與未來加上期待，或許是每個人的人生裡面最想要，最重要的課題之一。席時斌有著建築師的幾何思維，卻沒有工程師的冷冰冰的性格，反應在他作品中的馬的形象，代表了一個時代的英雄氣息。停留及思考是他人生中最重要的兩件事。透過不鏽鋼，木材等多元化等不同的材料，結合不同的思考方向，表現出不同層次的作品深度。
對於創作的看法
Ｑ：我們都知道您在過去幾年以內都努力的在突破傳統創作的形式，您可以跟我們聊聊您的創作理念嗎?
Ａ：
我喜歡傳統的事物，並相信創作建立在個人的文化底蘊。採用新技術手法不只為突破，更是繼承、記錄、重組、構造出更多的狀態，當然在過程中我也勇於捨棄一些。我曾在台北當代藝術館舉行大型個展《記憶之宮》，取自英國史學家史景遷的著作《利瑪竇的記憶之宮》，它的概念在於每個人都可以獨立建造自己的精神宮殿，而建造需要「真實」作為材料。人們會發現到要分辨真實、虛構的二元方法，亦或是過去、現在、未來的線性時間觀，都是非常困難的。簡單的來說，我的創作方法就是不斷讓自己穿越各種超乎想像的記憶宮殿。
捨了肉體⋯描寫內在結構的美感
Ｑ：您覺得一個城市的生命力，表現在藝術作品中的樣子應該是怎麼樣的形式? 您在過去有嘗試過這類的表現方式嗎?
Ａ：
談到生命力，多數人會想到活力或是年輕朝氣的部分。但完整的生命力包含著衰退、老化甚至死亡的部分，如此的想像才是一個完整生命的運作。所謂的城市的生命力也是相同。很少人會說：讓我們來呈現一座城市老化/衰敗的生命力吧 ! 一旦能理解這個觀念後，我們會發現到世界上最有魅力的城市，往往是包含著生老病死的各種面向。這是我作為藝術家的觀察，反映在作品上，我的雕塑有很多描寫骨骼..等內在結構的美感。這與其他著重於肉體感的雕塑家是有不同的，也是我叛逆的部分，我捨了肉體，細分出了骨骼，血管，內臟，皮膚來彰顯更多的可能性，這應該就是我個人表現生命力的方式。
Ｑ：請問您為何對馬的創作主題或載體特別有興趣? 在您的生命中馬對您有何意義? 跟您的創作的主要鏈接點在哪裡呢?
Ａ：
最先是因為牠夠大，尺寸比人大的主題對雕塑而言是一個必然命題。再來是我很難忘了牠，我一直記得它，但也不記得牠在我生命中有任何意義。這就是所謂的神祕感，包含了命運或是愛情的層次。當然馬本身具有非常豐富的文化意涵，在人類的歷史中也扮演許多角色，不過這就是另一種書寫面向。
台灣藝術環境的看法
Ｑ：以您的經驗來看，國內現在的藝術環境最不足的是那一點? 誰最應該負起這個大環境的責任? 政府與民間又該如何來搭配，創造優質的藝術環境與氛圍?
Ａ：
台灣的藝術環境的不足根源的問題是參與者的不足。白話的說：最大的問題是藝術家不夠多。藝術家在藝術生態中是核心也是最具生產力的位置，所以要有很多的藝術家才可能會有建全的藝術生態。但一個城市要能生養很多的藝術家，必須要是一個文化建設很深耕的社會。所以大家在參與藝術時可以抱著一個播種的心態來，日後才會有豐富的收穫。
遇到瓶頸時
Ｑ：您可以分享在過去當您創作遇到瓶頸的時候是如何突破的嗎?
是否可以給現在正在奮鬥的新生代藝術家一些實用的建議?
Ａ：
危機就是轉機吧！很像是一定要經歷作不出來才會作出很不錯的東西，我相信累積會有一種很強的力量。
未來展出計畫與夢想
Ｑ：請問您在未來的5年內對您的藝術工作有什麼特別的規劃? 是否可以與我們分享一下? 在國內外有沒有一些新的展出計劃呢?
Ａ：
目前沒有甚麼特別的規劃。國內外展出是交由代理畫廊來安排的，我每天過著專心想新作品的日子，但我自己計劃在50歲時會作出很棒更成熟的作品，這件事已經可以預見。另外一直想進行有關建築立面的創作，不過沒人找我作。（笑）
以上訪談內容經過席時斌工作室同意刊登在LIVART的粉絲專頁，如需轉載請註明出處，謝謝。
Interview with Hsi Shih-Pin
Hsi Shih-Pin, who we know or don’t know
How do you feel when you live in a city that is both familiar and unfamiliar? When you stay in a corner of the city, watching the faces of each other fluttering and floating, calm down, a moment of pause and thinking, perhaps more important than the minutes and seconds of sliding the phone? Furnishing (construction) and dismantling (destruction), time (past and present) and space (civilization and ancient) are all bits and pieces in our life experience. Imagining the present and future expectations, perhaps one of the most important and important topics in everyone’s life. Hsi Shih-Pin has the geometric thinking of the architect, but without the cold character of the engineer, the image of the horse in his works represents the heroic atmosphere of an era. Staying and thinking are the two most important things in his life. Through different materials such as stainless steel, wood, etc., combined with different thinking directions, it shows the depth of different levels of work.
Views on creation
Q:We all know that you have been working hard to break through the traditional forms of creation in the past few years. Can you talk to us about your creative ideas?
A:
I like traditional things and believe that creation is based on personal culture. The adoption of new technical methods is not only a breakthrough, but also inherits, records, reorganizes, and constructs more states. Of course, I also dare to give up some in the process. I once held a large solo exhibition “The Palace of Memory” at the Taipei Museum of Contemporary Art, taken from the work of the British historian Shi Jingqian, “The Palace of Memory of Matteo Ricci”. The concept is that everyone can build their own spiritual palace independently. Construction requires “reality” as a material. People will find that it is very difficult to distinguish between real and fictional binary methods, or linear time views of the past, present and future. In short, my method of creation is to constantly let myself through a variety of memory palaces beyond imagination.
Give birth to the flesh…
describe the beauty of the inner structure
Q:What kind of form do you think the vitality of a city is expressed in a work of art? Have you tried this
type of performance in the past?
A:
When it comes to vitality, most people think of vitality or youthfulness. But the complete vitality contains the part of recession, aging and even death. Such imagination is the operation of a complete life. The so-called vitality of the city is the same. Few people will say: Let us present the vitality of a city’s aging/declining! Once we understand this concept, we will find that the most attractive cities in the world often contain various aspects of life and death. This is my observation as an artist, reflected in the works, my sculpture has many depictions of bones.. The aesthetics of the inner structure. This is different from other sculptors who focus on the physical sense. It is also my rebellious part. I gave up the body and subdivided the bones, blood vessels, internal organs and skin to show more possibilities. This should be my personal performance. The way of life.
Q:Why do you have a special interest in horse’s creative theme or carrier? What does horse mean to you in your life? Where is the main link to your creation?
A:
First, because it is big enough, the size is bigger than the theme of the people is a necessary proposition for sculpture. It’s hard to forget about it again, I always remember it, but I don’t remember it has any meaning in my life. This is the so-called mystery, including the level of destiny or love. Of course, the horse itself has a very rich cultural meaning and plays many roles in the history of mankind, but this is another writing aspect.
Taiwan’s artistic environment
Q:Based on your experience, what is the most insufficiency of the current artistic environment in China? Who should take the responsibility of this big environment? How should the government and the people work together to create a quality art environment and atmosphere?
A:
The problem of the root cause of Taiwan’s artistic environment is the lack of participants. The vernacular says: The biggest problem is that there are not enough artists. Artists are the core and most productive place in the art ecology, so there are many artists who may have a complete artistic ecology. However, if a city wants to raise a lot of artists, it must be a society where culture is deeply cultivated. Therefore, everyone can hold a sowing mentality when participating in art, and there will be rich harvests in the future.
When encountering a bottleneck
Q:Can you share how you broke through when your creations encountered bottlenecks in the past? Can you give some practical advice to the new generation of artists who are struggling now?
A:
The crisis is a turning point! It is like having to go through the process of making a very good thing. I believe that there will be a strong force in the accumulation.
Future plans and dreams
Q:What special plans do you have for your artistic work in the next 5 years? Can you share it with us? Are there any new exhibition plans at home and abroad?
A:
There is no special plan at the moment. The exhibitions at home and abroad are arranged by the agency gallery. I live the days of focusing on new works every day, but I plan to make great and mature works at the age of 50. This is already foreseeable. I also wanted to create a building facade, but no one asked me to do it. (laugh)
The content of the above interviews was approved by Xi Shibin Studio in the fan page of LIVART. If you need to reprint, please indicate the source, thank you.
