Hong Kong

Encounters 2023

Liang Gallery 尊彩藝術中心

Hsu Yunghsu 徐永旭

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粵語

<p>Born 1955 in&nbsp;Kaohsiung<br />Lives and works in&nbsp;Tainan</p><p>1955年生於高雄<br />現於台南生活及工作</p>

<p><span style="font-size: 16px;"><em>2019-37</em><br />2019<br />Total: 1.555 x 6.38 × 0.82 m<br />(A) 1.48 × 3.02 × 0.78 m + (B) 1.555 ×&nbsp;&nbsp;3.06 × 0.82 m<br />Porcelain<br /></span></p><p><span style="font-size: 16px;"></span></p><p>Using clay as his primary material in a highly laborious and physically demanding process, Hsu Yunghsu engages in gestures and movements of constant fluidity, lyricism, repetition and accumulation. For the artist, the making process is a sort of performance, which can be seen in the traces of his own body movements, DNA, and fingerprints across the epidermis of the form. Long after the body is gone, the remnants and traces remain, existing in the consciousness of both the past and the present. Each work is formed by an aggregation of smaller units, like cells that combine to produce more complex organisms. Its pitted surface offers a sense of porosity and apertures. There is a sinewy sensibility to <em>2019-37</em>, evoking the biomorphic forms of the body, the organic matter of the natural world, the flow of energy, or perhaps all of the above. The work incites the notion that everything begins with endings. In our present moment, it is important to see things through different lenses and times; to travel through and around to find our purpose and intent. </p><p>Treating the body as a creative tool, Hsu Yunghsu devotes himself entirely to the field of ceramic art. He emphasizes the dialogue between the body and his artworks, and confronts clay by integrating the subject with the body.</p><p><span style=""><span style="font-size: 16px;"><br /></span></span></p><p><span style="font-size: 16px;">《2019-37》<br />2019<br />總計：1.555 x 6.38 × 0.82 米<br /> (A) 1.48 × 3.02 × 0.78 m + (B) 1.555 × 3.06 × 0.82 m<br />瓷土</span></p><div><span style="font-size: 16px;"><p>徐永旭以黏土作為主要材料，在一個繁複並講求體力的過程中，他不斷進行流動、延展、重複和堆疊的動作。對他來說，製造的過程猶如一場表演，並可以從作品表面的痕跡捕捉到他的身體律動、DNA和指紋。當軀體消逝已久後，殘留的烙印仍然保留在過去和當下的意識之中。每件作品都由細小的單位組成，就如由細胞結合而成的複雜生命。坑坑窪窪的表面營造了一種疏鬆又滿布裂縫的感覺。這是一種對作品《2019-37》的強烈感受，喚起了身體的生物型態，自然界的有機物質和能量的流動。作品強調了以始為終的觀念。在當下每刻，最重要的是要通過不同的角度和時期去看待萬物；穿梭各處尋找我們的目標。</p><p>徐永旭將所有奉獻給陶藝，他將身體視為創作工具。他強調身體和藝術創作的對話，並在揉合黏土的過程中連結主題和身體。</p></span></div>

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Hsu Yunghsu 徐永旭

Liang Gallery 尊彩藝術中心

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