A temporary stillness cast in sand, however beautiful, might vanish in a swipe.

Nothing and Everything intends to illuminate that moment, a solitary moment to question if there is meaning in the impermanent nature of life.

An ambiance of expansiveness is essential. A clear open space dimly lit with directional lights near ground sets the stage for the viewer to discover, reflect and contemplate.

We chose sand, transient in its nature, as the ideal material to convey the idea that the act of capturing a fleeting moment is inconceivable, subjective, shifting.

The frame has two symbolic meanings: it is a gateway to past, present and future moments; it is a mirror reflecting the viewer’s mind.

Under the directional lights and with movement of the viewer, two sides of each grain of sand are always visible, undulating with the appearance and disappearance of every moment and thought.

Precision in technology and the chaotic, imperfect act of human touch combine to produce a desired ephemeral quality in the artwork. Both casting mold and sand are reusable.

The installation Nothing and Everything won the 2015 TID (Taiwan Interior Design) Award of Installation Art.

 

Size: 72" L x 44" W

Materials: natural sand

 

觀虛實 探有無  (Nothing and Everything)

人的心境似意識流, 如每一剎那的過往, 不停不止, 在空曠寧靜的空間裡, 微光下, 由短暫易逝的沙框來詢觀者, 一切虛實有無, 臥於觀者之心.

低斜單向光源中, 忽隱若現, 觀者從遠走近, 在淨空的房間裡, 被沙框吸引沉浸於其中的無像, 在身處於具象與抽象的空無下, 探索內心.

以藝術思維為前提的空間裝置藝術, 為對應觀者內心深廣的空間, 而讓整個房間淨空. 用易逝的砂作為材質來闡明, 沒有一刻時光是留得住的. 框有穿梭時空和映心鏡雙喻義. 在單向斜燈光下, 每一粒砂都會有兩個可見面, 映照在沙上的光影, 如同每一時刻每一心思的出現與消失, 隨著觀者的移動而起伏. 作品材質選取應用, 包括沙粒顏色及大小, 是否與水泥地板搭配, 單向斜燈光角度在作品明暗上的需求, 以及運用科技的精準度, 並結合人工來創造所有幽微細節. 模板與沙粒可重複使用. 整體環境是作品必要條件, 深慮完整的設計提供整件作品的骨幹, 讓觀者能專注其藝術精神.

觀虛實 探有無 贏得2015年台灣室內設計空間裝置藝術大獎.