"So Immense"
年代：2010
材質：輸出、圖釘、壓克力、水彩紙、水彩、鉛筆、代針筆、3×5相紙
規格：依空間而定
展出： 2010關鍵字：潛雕塑、租借、劇本；朱銘美術館
攝影：葉希
翻譯：葉希
原由
《如此遼闊》是自2010年5月底開始，為朱銘美術館的關鍵字展覽所執行的作品計劃。
初始的計畫構思，展開自美術館第二展覽室與美術館戶外寬廣區域之間的對應與比照上；兩者相形之下，那戶外空間的邊際顯得如此遼闊，來訪的參觀者從購票處沿著階梯而下，自室內展場走入戶外的館區，參觀一定時間之後，又邁入另外一個室內展場。豔陽高照的夏天，參觀者進入有冷氣的室內，身體感受到的暑氣暫時得以喘息。
於是我開始思考，可不可能作品的安置空間便是整個朱銘美術館的區域空間？室內展場是某否可以做為某種行動的基地？它被放置的是一個作品參考依據而不是作品本身，先經由創作者的行動之先完成元件，再經由觀者自身的行動完成整件作品。
先行的作者行動
首先，我在朱銘美術館區域內標定了300個定點，並帶著繪畫材料自每個定點做一段時間的停留，停留期間，我以一種近乎復古的寫生態度，去審視我於停留點所見到景物，並將自身感觸、觀察與想像經由寫生行動完成某些繪畫遺留。
接著，我將自300個定點所得到的繪畫遺留帶回室內後製，並以12㎝×8㎝的壓克力框架將其規格化，完成作品的繪畫物件。
最後，我將繪畫物件帶回原本的300個定點將其安置，完成作品的行動元件。
行動基地
第一展覽室內所展示的300張照片，裡頭拍攝了300個繪畫物件與安置區域的對應關係，於是該處成為一個作品的行動基地。
第二展覽室內所展示的館區大型地圖以圖釘標示了300個繪畫物件的客觀座標，於是該處也成為一個作品的行動基地。
行動劇本與後發的觀者行動
兩處行動基地前可以索取的小型地圖則是提供給觀者的索引依據，有興致者可以經由地圖給予的圖形座標與文字提示去尋找我所提供的300個作品元件。
在這個互動之間，我期待與觀者之間玩某種簡化意義之下的尋寶遊戲，觀者或積極或無謂的尋寶行動將會直接完成我付予作品元件的意圖，我認為觀者在尋找作品的途中，能夠散散步、聊聊天，或見到一個讓人愉悅的風景、或讓樹上的小動物嚇一跳，那個尋找元件的過程本身就很有意義，這樣的行動讓作品得以完成。
因而這也是我給自己的一套劇本，我經由某些程序化的操作去達成提供作品元件的行動，在那些行動之下，炙熱的陽光與喞喞的蟬鳴給我的感受是如此的真切。
致謝
如此遼闊作品計畫得以完成，必須感謝很多人的頂力相助。
感謝策展人聖閎，與我自作品計畫草案開始便溝通了無數次，也給了我許多非常好的建議。
感謝朱銘美術館館方的幫忙，特別要感謝協同策展的珮儀與在典藏研究部實習的冠群，她們不厭其煩的為我解決了許許多多實務面與駐館生活面的疑難雜症，感謝她們的耐心。
最後感謝Jackie許多精神面與實質面上的協助。
謝謝你們。
The Origin
“So Immense” is a project I have started to create, since late May of 2010, for the “Key Words” Exhibition of Juming Museum.
The original idea of the project comes from the correspondence and contrast between Gallery II and the vast outdoor area of the museum. In comparison, the outdoor space seems so immense. Visitors would step down the stairs from the box-office, and move from an indoor gallery to the outdoor area. After spending some time outdoors, they would step into another indoor gallery. In the sunlit summer, visitors enter an air-conditioned room, with the summer heat in their bodies temporarily relieved.
Hence, I begin to think. Can the space for displaying works spread to encompass the entire complex of the Juming Museum? Can the gallery be sort of an action base? The articles displayed inside are references only but not the work itself. Through the initial action of the creator, basic components would first be produced. The work would then be completed with the action of the viewers.
Initial action of the author
First, I would locate 300 spots inside the entire area of the Juming Museum, linger at each spot for some time with painting materials in tote, and sketch with an almost neo-classic attitude. I would watch the scene at the spot, and capture my feeling, observation and imagination by sketching, leaving some imprints of painting.
Afterwards, I would bring the imprints of painting from the 300 spots to an indoor area for post-production. They would be encased in standardized 12cm x 8cm acrylic frames, constituting the painted objects of the work.
Lastly, I would bring the painted objects back to the 300 spots and install them there. These objects would constitute the action components of the work.
The Action Base
In Gallery I, 300 photos are displayed. The photos show the relation between the 300 painted objects and their respective installation area. The gallery itself is the action base of the work.
In Gallery II, a big map of the museum is displayed, with drawing pins indicating the co-ordinates of the 300 painted objects. This gallery also serves as another action base of the work.
The Action Script and the Subsequent Viewers’ Action
Smaller maps, which provide an index with co-ordinates and textual clues for the location of the objects, are placed at the two action bases for collection by viewers who are interested in hunting for the 300 components of my work.
With this interaction, I expect to play with the viewers a sort of treasure-hunting game in a simplified sense. The viewers’ active or indifferent participation in the action of treasure-hunting would directly complete my intended creation of the components of my work. I believe the viewers, on the way to hunt for the objects, can take a stroll, chat or be eye-to-eye with the pleasant scenery, or be frightened by small animals up on the trees. The process of hunting for the components is very meaningful in itself. Also, the action itself completes the work.
As such, this is also a script I have given myself. Through certain procedural operations, I have accomplished the action of providing components of the work. And throughout the action, the scorching sun and the chirping of cicadas have given me such real feelings.
Acknowledgement
Thanks to the assistance extended by many people, the “So Immense” project was accomplished finally.
Thanks to curator Sheng-hung, for discussing with me for so many times since the proposal stage, and giving me so many valuable comments.
Thanks to the Juming Museum for their assistance. With special thanks to Pei-yi , co-curator, and Guan-chiun , the intern of the Art Collection Research Department. They patiently solved all kinds of problems concerning the practical operation of the project and those concerning my stay in the museum for me. Thanks for their patience.
Finally, thanks to Jackie for her assistance, spiritually and practically.
Thanks to everyone involved.
年代：2010
材質：輸出、圖釘、壓克力、水彩紙、水彩、鉛筆、代針筆、3×5相紙
規格：依空間而定
展出： 2010關鍵字：潛雕塑、租借、劇本；朱銘美術館
攝影：葉希
翻譯：葉希
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| 第二展覽室;大地圖與文字說明 |
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| 第一展覽室;300張繪畫物件與區域關係照片 |
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| 繪畫物件與安置區域 |
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| 繪畫物件與安置區域 |
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| 繪畫物件與安置區域 |
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| 安置工作 |
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| 安置工作 |
原由
《如此遼闊》是自2010年5月底開始，為朱銘美術館的關鍵字展覽所執行的作品計劃。
初始的計畫構思，展開自美術館第二展覽室與美術館戶外寬廣區域之間的對應與比照上；兩者相形之下，那戶外空間的邊際顯得如此遼闊，來訪的參觀者從購票處沿著階梯而下，自室內展場走入戶外的館區，參觀一定時間之後，又邁入另外一個室內展場。豔陽高照的夏天，參觀者進入有冷氣的室內，身體感受到的暑氣暫時得以喘息。
於是我開始思考，可不可能作品的安置空間便是整個朱銘美術館的區域空間？室內展場是某否可以做為某種行動的基地？它被放置的是一個作品參考依據而不是作品本身，先經由創作者的行動之先完成元件，再經由觀者自身的行動完成整件作品。
先行的作者行動
首先，我在朱銘美術館區域內標定了300個定點，並帶著繪畫材料自每個定點做一段時間的停留，停留期間，我以一種近乎復古的寫生態度，去審視我於停留點所見到景物，並將自身感觸、觀察與想像經由寫生行動完成某些繪畫遺留。
接著，我將自300個定點所得到的繪畫遺留帶回室內後製，並以12㎝×8㎝的壓克力框架將其規格化，完成作品的繪畫物件。
最後，我將繪畫物件帶回原本的300個定點將其安置，完成作品的行動元件。
行動基地
第一展覽室內所展示的300張照片，裡頭拍攝了300個繪畫物件與安置區域的對應關係，於是該處成為一個作品的行動基地。
第二展覽室內所展示的館區大型地圖以圖釘標示了300個繪畫物件的客觀座標，於是該處也成為一個作品的行動基地。
行動劇本與後發的觀者行動
兩處行動基地前可以索取的小型地圖則是提供給觀者的索引依據，有興致者可以經由地圖給予的圖形座標與文字提示去尋找我所提供的300個作品元件。
在這個互動之間，我期待與觀者之間玩某種簡化意義之下的尋寶遊戲，觀者或積極或無謂的尋寶行動將會直接完成我付予作品元件的意圖，我認為觀者在尋找作品的途中，能夠散散步、聊聊天，或見到一個讓人愉悅的風景、或讓樹上的小動物嚇一跳，那個尋找元件的過程本身就很有意義，這樣的行動讓作品得以完成。
因而這也是我給自己的一套劇本，我經由某些程序化的操作去達成提供作品元件的行動，在那些行動之下，炙熱的陽光與喞喞的蟬鳴給我的感受是如此的真切。
致謝
如此遼闊作品計畫得以完成，必須感謝很多人的頂力相助。
感謝策展人聖閎，與我自作品計畫草案開始便溝通了無數次，也給了我許多非常好的建議。
感謝朱銘美術館館方的幫忙，特別要感謝協同策展的珮儀與在典藏研究部實習的冠群，她們不厭其煩的為我解決了許許多多實務面與駐館生活面的疑難雜症，感謝她們的耐心。
最後感謝Jackie許多精神面與實質面上的協助。
謝謝你們。
The Origin
“So Immense” is a project I have started to create, since late May of 2010, for the “Key Words” Exhibition of Juming Museum.
The original idea of the project comes from the correspondence and contrast between Gallery II and the vast outdoor area of the museum. In comparison, the outdoor space seems so immense. Visitors would step down the stairs from the box-office, and move from an indoor gallery to the outdoor area. After spending some time outdoors, they would step into another indoor gallery. In the sunlit summer, visitors enter an air-conditioned room, with the summer heat in their bodies temporarily relieved.
Hence, I begin to think. Can the space for displaying works spread to encompass the entire complex of the Juming Museum? Can the gallery be sort of an action base? The articles displayed inside are references only but not the work itself. Through the initial action of the creator, basic components would first be produced. The work would then be completed with the action of the viewers.
Initial action of the author
First, I would locate 300 spots inside the entire area of the Juming Museum, linger at each spot for some time with painting materials in tote, and sketch with an almost neo-classic attitude. I would watch the scene at the spot, and capture my feeling, observation and imagination by sketching, leaving some imprints of painting.
Afterwards, I would bring the imprints of painting from the 300 spots to an indoor area for post-production. They would be encased in standardized 12cm x 8cm acrylic frames, constituting the painted objects of the work.
Lastly, I would bring the painted objects back to the 300 spots and install them there. These objects would constitute the action components of the work.
The Action Base
In Gallery I, 300 photos are displayed. The photos show the relation between the 300 painted objects and their respective installation area. The gallery itself is the action base of the work.
In Gallery II, a big map of the museum is displayed, with drawing pins indicating the co-ordinates of the 300 painted objects. This gallery also serves as another action base of the work.
The Action Script and the Subsequent Viewers’ Action
Smaller maps, which provide an index with co-ordinates and textual clues for the location of the objects, are placed at the two action bases for collection by viewers who are interested in hunting for the 300 components of my work.
With this interaction, I expect to play with the viewers a sort of treasure-hunting game in a simplified sense. The viewers’ active or indifferent participation in the action of treasure-hunting would directly complete my intended creation of the components of my work. I believe the viewers, on the way to hunt for the objects, can take a stroll, chat or be eye-to-eye with the pleasant scenery, or be frightened by small animals up on the trees. The process of hunting for the components is very meaningful in itself. Also, the action itself completes the work.
As such, this is also a script I have given myself. Through certain procedural operations, I have accomplished the action of providing components of the work. And throughout the action, the scorching sun and the chirping of cicadas have given me such real feelings.
Acknowledgement
Thanks to the assistance extended by many people, the “So Immense” project was accomplished finally.
Thanks to curator Sheng-hung, for discussing with me for so many times since the proposal stage, and giving me so many valuable comments.
Thanks to the Juming Museum for their assistance. With special thanks to Pei-yi , co-curator, and Guan-chiun , the intern of the Art Collection Research Department. They patiently solved all kinds of problems concerning the practical operation of the project and those concerning my stay in the museum for me. Thanks for their patience.
Finally, thanks to Jackie for her assistance, spiritually and practically.
Thanks to everyone involved.
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| 索引地圖正面 |
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| 索引地圖反面 |
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